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Nova Scotia, the past due ’40s: Margaret MacNeil (Bonham Carter), a lad-woman, struggles against the inexorable muscle of the coal mines. With initiator and joke brother already gobbled up, Margaret and her mother (Nelligan) give one’s solemn word of honour to preserve the youngest male in the kith and kin (Olejnik). And when Margaret falls in fellow-feeling a amour with Neil (Russell) – a fiddle-tickling, Gaelic-crooning mammoth – she makes it her purpose to safeguard him, too. Clearly attracted by all things Celtic, director/co-writer Ransen makes much of the wailer call of the dead, Margaret’s primitive wedding and Shawl Breton’s boozy fish tale-spinning locals. Too much: he rubs our nose in lots of carefully placed grit, but essentially this is ‘pixies skipping in the moonlight’ territory. All in all, the enterprise seems embarrassingly amateurish. But lo! Half-an-hour before the end comes a miracle. As intricately Gothic, as sexually grotesque as a Leonora Carrington dreamscape, Margaret’s irrefutable attempt to freeze-dry her loved ones dismembers the emotions. Is she damned or blessed? You’re too stunned to tell. Visceral details float glutinously and all the while a feverishly insensate Bonham Carter finally achieves a level of concentration that makes the scenes between her and Nelligan electric. It’s hard to imagine a more elating testament to the reality of pauperism and the utter impotence of solicitude.

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Affleck finally scores a hurt with a co-star who is nine years close.

JERSEY MAID

Before the screening I told a request mate I was not going to review ?Jersey Girl? because I had legitimate been too hard on Affleck?s past performances. Then I said something I cannot repeat here. Suffice to say sometimes resolute, unrelenting criticism can be viewed as an unhealthy hang-up.

The Affleck-Lopez Media Assault has not receded from my respect. I?m truly terrified they thinks fitting view back together again and plan another compounding. All I undeniably paucity to conscious, to suppress closure to that frenzy, is if Harry Winston took the work order ring back yet. Unquestionably, it was a loaner like famousness clothes.

However, I have affect aside my prejudices. Affleck won me over with this controllable story playing an singular man with real-life problems.

Affleck, once again under the guidance of director/writer Kevin Smith, shows that this type of instrument is best suited for his talents. He is clearly comfortable with the material, trusts his director, and, incredibly, shows real chemistry with his fabulous co-dignitary, nine-year old Raquel Castro.

Smith and Affleck should make over a fortune of upon to the casting director due to the fact that finding such a wonderful, typical little girl.

Regardless of what you have heard, there is still too much Jennifer.

New Yorker Ollie Trinke (Ben Affleck) is a brash, grand-powered and successful music promoter. He meets Gertrude Steiney (Jennifer Lopez), a laws editor, and they quickly join in matrimony after she wins over his father, Bart (a proletariat-guide George Carlin), and Bart?s friends. Ollie is a workaholic but Gertrude reminds him it is on one occasion to be shelter at 6 PM since they require soon have a baby. You all know what happens: Gertrude dies in childbirth, but Gertrude?s corona permeates the movie.

Ollie?s business associates do not care that Ollie has without warning mislaid his wife in childbirth. At a big news services symposium for a patient and rising star named Choose Smith, Ollie loses his cool, insults the media, and is fired. (Obviously, Smith has never heard of disgraceful felon/publicist Lizzy ?F**k You, white trash? Grubman, who is still altogether much a New York media adored.)

Ollie and infant Gertie Jr. go to live in New Jersey with Bart. Ollie becomes a dejected-collar labourer. Fast forward several years. Gertie Jr. is seven-years-old and planning a song for her school play. Ollie will have a leading part in her song from ?Sweeney Todd.? The play is set for the same date and time Ollie has an interview with a important PR firm. All he has wanted for seven years is to get back in the nervy, move to Mod York City, earn big bills and carried in limos. This is what he is fresh at: Being a success.

Seven years in New Jersey without a girlfriend, a car, or a house. A break in Ollie?s unfortunate fate comes. Will he take it?

Purpose he occasion it back in time from his interview in the Successfully New Zealand urban area to sing alongside Gertie? Essayist Kevin Smith does not bother with a invigorated tale. Intent Smith requite look over a additional take on this former, tired tale? Nope. Smith goes down the standard ?school play or grind interview? trail. We have seen this story limerick hundred times.

Liv Tyler appears as a graduate critic, Maya, working in the neighborhood video count on. Like Gertrude, Maya is very manifest and challenges Ollie to set right his priorities. While Maya shows a sincere genital concerned about in Ollie, Affleck?s chemistry is highly evident with Castro. Ollie is at most not attracted to Maya (and after a seven-year abstinence should be).

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One of my movie mantras is that actors need to find directors who not only allied to their part, but is enamored with them as people. Affleck is Smith?s adjust-ego, so Ollie has a infinite of dimensions and frailties. This is a partnership that works well together.
The superb chance nigh ?Jersey Friend? is Smith?s self-evident betrothed of the elements and his relationship of kinsfolk. While not a comedy in the emotionally wrenching, cerebral vary of ?Something?s Gotta Hand out,? ?Jersey Girl? is surprisingly appealing and perhaps, if God is benignant to us, will lift the Curse of Bennifer.
Victoria Alexander can be reached by visiting FilmsInReview.com or, directly, at

masauu@aol.com

.

“Sarafina!" has been classified PG-13 by the wise people at the

MPAA

Code and Ratings Administration, who explain the rating in these words: "For scenes of apartheid-driven violence." What does that mean? That the

MPAA

believes all violence is not equally objectionable? That ordinary violence might get the R rating, but if it's "driven" by apartheid, well, that's a different matter? The most violent scene in the film shows a group of black schoolchildren pouring gasoline on a black policeman and burning him alive. But the policeman has been revealed as an instrument of apartheid, which apparently means he had it coming to him, and explains the PG-13 instead of the R. There are also scenes of South African soldiers, black and white, shooting school children dead.

Once again, "apartheid-driven," and therefore PG-13.

The

MPAA

in its torturous efforts at Political Correctness only mirrors the underlying confusion of this production, which has taken a wonderful musical and turned it into a confused and misleading narrative quagmire. You can still see what made "

Sarafina!

" great on the stage – the great music, the dancing, the energy, the spirit of the young South Africans who perform it. You can see the luminous work of young

Leleti Khumalo

, who played the title role onstage and brings the movie to glorious life. But you can also see a misguided attempt to take an inspirational musical and turn it into a half-hearted attempt to deal with the labyrinth of South African politics, by filmmakers who lack a clear idea of what they want to say or how they want to say it.

The movie stars Khumalo as a bright young student who is inspired by her teacher (

Whoopi Goldberg

) to dream of a better tomorrow. The teacher makes statements in her classroom that sound like common sense to us – but like communism to the South African authorities, circa 1976, who arrest her and take her away. The movie has opened with a sequence of school children burning down part of their own school; now they stage protests that lead to armed intervention, the detention and torture of possible witnesses, and the burning death of the black policeman.

In a drama, these scenes would have been provided with a context. In this musical, they fit awkwardly between inspiring song and dance numbers.

There is a perfunctory subplot involving Goldberg's lover, who asks her to hide a machinegun, and Goldberg asking Sarafina to hide it again, after the arrest. And then Sarafina herself goes to jail, setting up the movie's most puzzling sequence.

We know that Sarafina's mother works as a domestic for white people in Johannesburg. After Sarafina is released from jail, she goes to visit her mother (

Miriam Makeba

), and they engage in the movie's key dialogue scene. I know it is the key scene because the whole structure leads up to it and follows from it. But I do not know what it means. It sounds as if Sarafina is apologizing for being radical, and honoring her mother for the patience and courage it takes to be a domestic. Is that really it? I doubt it. I've seen the movie twice, and still don't know.

I questioned the scene after seeing "

Sarafina!

" at Cannes in May 1992, andwas told there should have been a "Six Months Later" subtitle. I didn't seehow that would help. I saw the movie again in September 1992, after it hadbeen "re-edited," only to find that all of the problems remained. Then Iencountered Harvey Weinstein, head of Miramax Pictures, at the Toronto FilmFestival. He said I had still not yet seen the "real"re-cut version, and that his company and its co-distributor, HollywoodPictures, have had disagreements about the various versions. Weinstein'sversion, he promised, would answer my questions–but, alas, it was not theone being released to theaters, and my deadline presented itself.

I doubt whether one version will be any clearer than the other.

The distributors obviously have a problem with the fact that the heroes of their picture commit murder, and the film lacks any clear moral position on the murder. We know the soldiers are wrong to kill the students – but are the students wrong to burn the policeman (who had not killed anybody)? Sarafina was friendly with the dead cop, and there is a chilling moment where she joins the crowd that is burning him, and their eyes meet. What does she think? That it's a shame he had to die? Who knows? And so when she goes to spill out her heart to her mother, she doesn't know what she wants to say, and the confusing dialogue reflects that.

After seeing "

Sarafina!

" the stage musical I left the theater with a clear idea of what the musical felt, and how I felt about it. The people who made the movie have needlessly complicated the film without adding to its clarity or conviction.

The absurd

MPAA

rating "explanation" perfectly reflects this spineless vagueness: "Apartheid-driven violence," indeed. I guess that means if there had never been apartheid in South Africa, there would be no violence in this movie, and indeed no movie. All very well, but morality, I believe, has to stand above political expediency, and murder is murder, no matter who commits it. Others believe that political murders are justified. This movie doesn't know what it believes. "

Sarafina!

" shows black children committing murder, and lacks either the courage to condemn them for it, or the courage to say it was justified.

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Here is a movie that stands up to be counted, and loses count.

Melanie (Rachael Blake) is lone and looking, appreciate her friends. One night at the pub, a insufficient drinks later, she goes off with a handsome man (Sam Neill), another reachable Mr Dyed in the wool. He leads her to his boat and takes her on a puzzling trip to his unfamiliar and fantastic island home, but the romantic surface is shattered when she realises he is keeping her prisoner, liking a man obsessed. Violent and dramatic events leave them both the worse an eye to wear, and Melanie is perplexed about her feelings in the service of this knotty man. When a few days later her one-every so often (as in one night) lover Neb (Joel Tobeck) turns up unexpectedly, she has a lot of explaining to do – some of which she does with a shovel.

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‘I’m infamous and ill-fated,’ shrugs indigent-crust margin-flitter Mrs Erlynne (Helen Hunt). Thick-skinned but seldom vampiric, this professional mistress suggests what Lily Bart of ‘The Clan of Mirth’ might be struck by become in beginning central grow older if exclusive she’d had a moment more luck and a tad fewer scruples. In this 1930s update of Oscar Wilde’s ‘Lady Windermere’s Fan’, Mrs Erlynne descends upon a sleepy Italian village with her sights trained on shy young Lady Windermere (Scarlett Johansson), in hopes of emotionally loaded financial addition. Prompt lush picture-postcard establishing shots, much retail therapy and a steady peppering of Wildean bon mots. Hunt’s performance is too dithery and wheedling for a practical-minded seductress, and Barker adds defame to miscast injury by filming her aquiline visage so unflatteringly. In another manner pleasant and unexpectedly poignant, ‘A Good Woman’ takes its cue from the opening mould of ‘Lost in Translation’ as an unabashed ode to Scarlett’s appetizing takings. Barker would follow her anywhere, at best to scrutinize her walk away.

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In Baltimore, there is a visionary cultural institution with a distinguished name; in the local parlance, however, it is known as the Museum of Art by Crazy People. That is exactly where the world premiere of “Confessions of a Dangerous Mind,” George Clooney’s take on Chuck Barris’s autobiography, should have been held.

How crazy? Real crazy. Crazy like a crazy fox. Crazier than a crazy fox. This crazy: Chuck Barris invented “The Gong Show,” but when the world ceased to pay attention to him, he announced in an autobiography his delirious fantasy that he had been an assassin for the CIA.

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How do we know Barris’s claim is screwball? Well, in the first place, I was an assassin for the CIA, and I never saw him hanging out in the halls at Langley or at the Company picnics or bowling league. We assassins had a killer bowling team at the Herndon Readi-Strike! We used to cream those wusses in Blackmail & Extortion!

In the second place . . . I mean, really. A quiz-show producer without language skills, local contacts, cover stories, meaningful clandestine training, escape routes, an emergency communications program, fallback plans . . . wandering the Third World, shooting people. What Barris seems not to understand is that the killing part is basically pretty easy; it’s the getting in and getting out that marks the professional. I mean, really.

But the trick of the movie is that it takes this claim straight — no ice, no chaser, no winks or nods. Do the moviemakers believe Barris? Not for a second. But they play it as he wrote it: the literal, deadpan story of a man who invented vulgar quiz shows, made millions, had sex with a lot of women, was widely castigated as a barbarian by the genteel elite — and killed people for the CIA, until a nervous breakdown caused him to confront and recount it all (helpfully providing the flashback structure for the film). It’s so hard being Chuck Barris!

A character actor named Sam Rockwell — you won’t remember him, but you’ll remember the characters he played, such as the demented tag-along in “Galaxy Quest” — is excellent and commanding in his promotion to main man. He has one of those memorably unmemorable faces so helpful to an actor, so debilitating to a star. He gets Chuck’s desperate insecurity, his bohemian rhapsodies, his haunted nature, his drive, his strange capacity to take drivel dead seriously. But Rockwell, though he’s onscreen in every scene, is possibly the least provocative of the four personalities that haunt the enterprise, the other three being Barris himself, director/co-star Clooney and, oddly, the co-producer, Steven Soderbergh.

You feel Barris everywhere in the film, which is essentially a plunge into the strangeness of the mind he self-advertises as “dangerous.” When people call themselves “dangerous,” aren’t they really flattering themselves as well as marketing a product? Who would read a book or see a movie titled “Confessions of an Essentially Harmless Schnook”?

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On the facts, Chuck Barris had a cunning mind, a clever mind, a greedy mind, an ambitious mind — even, you might say, a natural television mind; but he was about as dangerous as Dick Clark, though not as smart. His most salient charm was his utter lack of charm, which made him seem almost like a naif — when he was actually a ganef and the public was his mark. As the movie chronicles vividly enough, he was an ambitious Philadelphia hustler who caught on in the early ’60s at a network, where he proved a quick study at cheapo production. But he kept losing jobs as policies and politics changed, and he understood soon enough that working at the network wasn’t the answer: Selling to the network was the answer.

He had energy, he had deep conviction in the shallowness of his purpose, and he had relentlessness. Here’s what part of “No” he didn’t understand: All of it. Finally, in 1966, he sold “The Dating Game,” based on a shrewd principle: Nothing sells like sexual yearning. If you can fake that, you can make a fortune. The show trafficked in stupidity, inanity, smarmy double-entendre, and the rest, of course, is hysteria. “The Newlywed Game” followed, then his masterwork, “The Gong Show,” which he himself, in a frenzy of narcissism, hosted.

That’s the Chuck Barris we know and love: slightly cute, slightly cuddly, completely disengaged, doing inappropriate stuff with his hands and his hair, coming across as the world’s first game show anti-host, in his way as pathetic as the contestants, those pathetic samples of rejected tissue who showed up for the masochistic pleasure of being destroyed by such giants of entertainment as Jaye P. Morgan and Rex Reed. My favorite — from a wasted young manhood spent watching too many “Gong Shows” — was a pitiful guy who sang a song called “I’m Just an Old Weakie,” “weakie” being a synonym for “weakling,” a word for which he couldn’t find a rhyme. He lasted one refrain before being gonged back to richly deserved oblivion.

During all this, Chuck claims, he was killing people overseas.

Clooney, to his credit, doesn’t blink at this absurd assertion. He seems to get a deeper truth, which is that Barris’s fantasies about himself are more revealing than the facts about him. One is left in some sort of pitiful awe at Barris’s childish fantasy that expresses itself in godlike identification with the assassin. What secret rages, what deep feelings of hostility, inferiority, exile and self-hatred he must feel to see the pinnacle of his existence that moment when he points the silenced Walther, there’s a pffft, and one less American enemy breathes the free air of Earth. And how sad that a man who engineered the moment when Rex Reed gonged Mr. Weakie would stoop so low!

By

Jon Niccum

June 29, 2005

Advertisement

Steven Spielberg is as familiar with aliens as he is Indiana Jones or sharks.

Unlike most of his contemporaries, Spielberg has always depicted extra-terrestrials in a positive light – whether they're benevolent communicators ("Close Encounters of the Third Kind"), childlike buddies ("E.T.") or inquisitive explorers ("A.I. Artificial Intelligence").

Until now.

There are no touchy-feely vibes from the aliens in "War of the Worlds." These slimy creatures are as cold and malevolent as the rogue great white in "Jaws."

The byproduct of this depiction is that the Oscar-winning director delivers a film that is more horror than adventure. He fashions a rather old-fashioned nail-biter that is unrelenting in its depiction of death and destruction … up until an awkward happy ending of the type that Spielberg has been unable to sidestep his whole career.

The structure of the picture follows H.G. Wells' 1898 novel. But instead of filtering the story through the eyes of the military/scientific community, as in the memorable 1953 version, the film is told solely through an average Joe.

Tom Cruise plays Ray Ferrier, a crane operator on the New Jersey docks. His ex-wife (Miranda Otto) is leaving their children, teenager Robbie (Justin Chatwin) and grade-schooler Rachel (Dakota Fanning), for the weekend while she and her new husband visit relatives in Boston.

Paramount Pictures Photo

Tom Cruise stars in "War of the Worlds," which opens today in Lawrence.

Ray isn't very close to his kids, who consider him an irresponsible, absentee father. But when mammoth combat vehicles begin bursting up through the ground, the family becomes a whole lot closer.

Rachel wonders, "Is it the terrorists?"

Not exactly.

The three fight their way out of the city as they gradually discover the entire world is under attack from alien invaders.

The idea of monsters from outer space taking over the planet is nothing new, and "War of the Worlds" isn't all that different from "Independence Day" on a lot of levels. Even the idea of how a small family would react to a large-scale occupation was already explored in "Signs."

Spielberg and writers Josh Friedman and David Koepp don't score any points for innovation;

, they get by on atmosphere and intensity. "War of the Worlds" takes a fanciful idea and makes it feel like it's really happening. (That believability factor famously led to mass hysteria during Orson Welles' 1938 radio broadcast of the same material.)

Motion picture
War of the Worlds
***

Director Steven Spielberg fashions an intimate-fashioned be correct-biter that is unrelenting in its depiction of death and wiping out … up until an discomfited happy ending of the model the filmmaker has been powerless to sidestep his lot career. Tom Travel stars as a divorced father who weathers an alien assault with type in tow.

Get movie listings, reviews, and more at

lawrence.com

The filmmaker first creates a solid family dynamic – even the overexposed Cruise manages to immerse himself in the role and not be so "Tom Cruisey" – and then keeps the story squarely focused on the Ferriers.

For a solid hour, the movie ratchets up the suspense with one spectacular sequence after another, from the initial street-level assault to a Titanic-like capsizing of a ferry that the trio is attempting to board. It's refreshing for a change to see an apocalyptic vision that doesn't include shots of prominent world monuments being obliterated.

"War of the Worlds" only starts to leak momentum once the clan holes up inside a farmhouse cellar shared by a lone wacko (Tim Robbins in full "Mystic River" mode). Curiously, it's here that the picture drags AND feels rushed.

Just when Cruise and company begin to find a way to apply a little insurgency to their oppressors, the film abruptly ends. While the climax echoes Wells' original vision, it doesn't exactly make for a slam-bang finale.

Paramount Pictures Photo

Tim Robbins, left, and Tom Cruise star in "War of the Worlds," a Steven Spielberg film based on the 1898 H.G. Wells' novel. The movie opens today in Lawrence.

Wells had nothing to do with the tacked-on epilogue, however.

Spielberg has proven over and over – "Saving Private Ryan," "Empire of the Sun," "The Terminal," etc. – that he will insert a pro-family ending, even when it doesn't make any contextual sense. (So, the whole world lies in ruins except for the swanky block where Ray's ex-wife has endured the invasion? Robbie the rebellious teen flaunts his independence by running home to mommy?)

Spielberg may have conquered aliens throughout his career, but he seems unable to win a battle with his own cinematic conclusions.

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Open lead performances greatly enhance a everyday coming-of-discretion horror story in “Mendy: A Proposition beyond the shadow of a doubt of Faith,” writer-director Adam Vardy’s sympathetic account of an ultra-Official Jew who leaves his insular Brooklyn enclave to example life in the secular world of Manhattan. Inspired by a 1997 Village Agency article about Chassidic twentysomethings who drifted away from their tradition-predestined Satmar set to immerse themselves in modern life, this foolish-budget indie abounds in vividly drawn details of custom and courage. But overall paucity of narrative momentum, along with an unsatisfying conclusion, may crop the pic’s appeal to auds other than adventuresome arthouse habitues.

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Ivan Sandomire neatly balances vulnerability and rebelliousness, innocence and intelligence, as Mendy, a devoutly religious young man who’s nevertheless drawn to the wild life long ago embraced by Yankel (Spencer Chandler), a childhood friend now known as Yankie. A proudly tattooed libertine, Yankie offers Mendy a place to stay while Mendy wanders through a strange new world of strip joints, rave clubs, all-night diners — where the non-kosher fare can be hazardous to Mendy’s health — and alluring shiksa cuties.

Yankie offers chauvinist advice for his naive friend, but Mendy winds up learning his important life lessons from Bianca (Gabriela Dias), Yankie’s curvy Brazilian roommate.

Bianca — a beautiful black bartender and ex-stripper who studies choreography at NYU, and dispenses love and wisdom like a bountiful Earth Mother — often seems more like a romanticized concept than a flesh-and-blood character. But Dias plays her with sufficient conviction to give that concept some credibility. Bianca brings out a sweetly engaging befuddlement in Mendy, whose lack of worldliness is such that he doesn’t know where Brazil is, or what “choreography” means.

Vardy and co-scripter Hershey Schnitzler (a real-life ex-Satmar who wrote the Yiddish dialogue) lead the audience to expect the worst when they involve the financially strapped Mendy in the international drug trade. Rather than veer into violent melodrama, however, the pic detours into an anticlimactic travelogue for a colorful holiday in Brazil that plays like a feel-good cop-out.

Digital video lensing by docu cameraman Gary Griffith is exceptionally good.

(Some questions in this interview have come from another anchorman present for the Q&A.)

You know Dennis Farina. He's the tough guy with the Chicago accent and the Miami wardrobe who thought he was cooler than

John Travolta

's Chili Palmer in

"Get Shorty."

He was Jennifer Lopez's roughneck cop pop in

"Out of Sight."

He plays the guys who crack wise even though they ain't.

Well let me tell you something about Dennis Farina, pal, and you better listen good, 'cos I ain't gonna say it twice: He may look like the same tough guy in person that you see on screen — the Florida tan, the summer-white pants, salmon shirt, navy sport coat, and even the gold necklaces (his shirt is buttoned up, but you can hear them jangle when he scratches his chest) — but as soon as the man smiles his invitingly huge smile (so huge his whole face gets into the act), it's clear he's more teddy bear than bruiser.

The tough guy is in there somewhere — after all, he spent 20 years on the Chicago police force before stumbling into an acting career. But Farina is polite to a fault and more interested in conversation than Q&A. Meeting him in the lobby of San Francisco's Ritz-Carlton Hotel, he and I take the elevator up to a conference room where he's doing press for

"Big Trouble,"

a lunatic tale of arms trading and assassination attempts in — wouldn't you know it? — Miami. As the elevator doors close, Farina turns to me and says, "So where ya from?" And here I thought I'd be the one asking the questions.

His voice and his gestures, like the way he shrugs with his hands, are familiar from his movie and TV roles. (He had a recurring role on "Miami Vice" and his own short-lived concept-comedy called "Buddy Faro," about a Rat Pack-styled 1960s private eye getting back into the business in the '90s). They're also reminiscent of classic movie tough guys, many of which he admired during the matinees of his youth.

"When I was a kid going to the movies, we'd go to a movie because somebody was in it," Farina says. "Bogart was in the movie, or Cagney, or John Wayne. We didn't know what the story was about or anything. It was just, 'Let's go see Bogart. He's in a movie.'"

The actor also expresses a fondness for certain character actors whose footsteps he seems to have followed in. "I liked guys like Richard Conte (Don Barzini in "The Godfather"). Second bananas, you know? You didn't know who they were, but they were wonderful. Good actors."

Farina's character in "Big Trouble" — which was rescheduled from September to April after 9/11 because its climax pokes fun at bad airport security — is a greasy, hilariously fed-up hit man who spends most of the movie stuck in a run-down rental car with his witless partner (Jack Kehler) while waiting for his target to come out in the open. It's the kind of drolly disgruntled bad-guy character he has down to a science, which invites a comparison to some of those second banana actors he admires.

Q: Watching you in "Big Trouble" and thinking about your roles in "Snatch," "Get Shorty" and some of your other movies, you've arrived as a real character actor, like Cagney and others from the old days.

A:

Well, I'm flattered you would even say that. I think really all actors are supposed to be character actors, but I take that as a compliment. Thank you very much.

Q: You wouldn't rather be a Tom Cruise or something?

A:

[Amused] I would not rather be, and I don't think I have the option! But I'm very happy doing what I'm doing.

Q: So you kind of embrace being type cast?

A:

Well, I really don't know that I'm typecast. I played a hit guy in "Big Trouble" and before that I did "Snatch" in which I played a Jewish jewelry salesman. I just did a movie called "Stealing Harvard" and I played somebody's father. In

"Saving Private Ryan"

I was a soldier…

Q: Well, I'm not referring to a specific type of character. It's more that you're pretty much a tough guy. A hit man or a cop or a mobster…

A:

Well, how can I say this? They're not gentle roles. [Grins]

Q: They're often slightly shady. They're always a little bit smarter than the other guy and maybe a little bit disgusted with everybody else around them — except in "Get Shorty," where you were just a little bit dumber.

A:

[Smiling] I got out-foxed in "Get Shorty."

Q: Your character in this movie seems cursed to a life of funny, frustrating, eye-rolling moments (e.g. he keeps getting hit in the face by his automatic seat belt). Does that sort of thing require practice, to get the perfect funny, fed up look?

A:

Let me tell you this: We were shooting this movie in July and August in Florida, so it was kind of easy. Barry would say, "Just do that you-want-to-get-out-of-Florida-in-August look," and I go, "OK, I gotcha."

Q: [Laughs] You're not going to need 20 takes to get this scene!

A:

Exactly! That's exactly right. So it all kind of worked out.

Q: "Big Trouble" seemed to have something besides you and the director in common with "Get Shorty": It seems as if the entire cast is having a great time.

A:

We had a wonderful time making this movie. But you know what was funny about making this movie? The cast was huge, but I never saw anybody. Just Jack Kehler (who plays) my partner.

Q: That's right! You're in a car half the time and hiding in bushes the other half of the time! [Laughing]

A:

I saw Tim Allen once, in the makeup chair. He said to me, "Hey, I hear we're in a movie together." I saw Janeane Garofalo once. "Hi, how are you?" We had a little scene together. "Fine, how are you?" Then she was gone. Stanley Tucci and I never had a scene together. (Tom) Sizemore and I never had a scene together. Jason Lee and I, I think we had one scene together. (Jack and I) never saw anybody.

Q: An obvious question I have to ask: What are your thoughts about the movie being postponed after 9/11?

A:

I was actually in New York on Sept. 11 doing the publicity for "Big Trouble." When the attacks happened, I was there for about five days, six days. We wound up driving back. We found us a car in Newark and drove back to Chicago from there. But I absolutely agree with the postponement. I think it was proper to do it. But I think now it's time for the movie to come out.

Q: Have you seen it post-Sept. 11?

A:

No, I haven't. I'm told nothing was cut out.

Q: Nope. In fact, I saw it on Sept. 10 for its original release date, then I watched it again yesterday and it was the same print — it still had the "Corky Romano" trailer attached to it! I had to do an instant replay of some of the movie's gags in my head to see if they were funny after my knee-jerked, post-Sept. 11 reaction: Inept screeners at an airport? That's not funny anymore. But then I thought, "OK, well, but here it's funny." A bomb on a plane? That's not funny. But again, in the context of the movie, it's funny. So that's why I asked if you'd seen it since.

A:

No, I hadn't. But I don't know that we should change things. Listen, what happened was…was beyond horrible and everybody knows that. But we have to go on. Otherwise (the terrorists) win. Otherwise we keep monitoring ourselves, censoring ourselves, being too sensitive to this, too sensitive to that. We can't keep doing that.

Q: And worse case scenario, it can been seen as a period picture. It obviously takes place before the terrorist attacks.

A:

You know, when they released

"Sidewalks of New York"

(a

Edward Burns

-directed Manhattan romantic comedy-drama in which Farina had a supporting role), there were some shots with the towers…

Q: Yeah, Ed's interview scenes (the character played by Burns is interviewed about his love life with the World Trade Center prominent in the background).

A:

They were going to take that out, and Ed told them no. Don't take them out. Are we just going to deny those things were there?

Q: I really had a positive reaction to those scenes in "Sidewalks." Especially the second or third time (Ed is interviewed), it really felt good to see them.

A:

Yep. I don't think they can deny the towers were a part of New York. I think we're silly if we try.

Q: So, a little background now. Chicago is your home town…

A:

Born and raised there. Still live there.

Q: Any bungalow in L.A.?

A:

I have a home in Arizona. I go a couple months a year.

Q: Working on the tan in the winter?

A:

Yeah, and my golf game. [Laughs] But basically Chicago is my home.

Q: You were on the force in Chicago, yes?

A:

Yeah, yeah. I'm proud of that.

Q: You still have friends from your police days.

A:

Absolutely. They're all retired now.

Q: How did you go from cop to actor?

A:

I was in the right place at the right time. A friend of mine named Charlie Adamson — a retired Chicago police sergeant who I worked for — he retires, he goes to Vegas to work security at the Tropicana hotel. (Director) Michael Mann is shooting "Vega$" (the 1970s detective show) at the Tropicana. They meet and they're both from Chicago, and Michael Mann tells Charlie Adamson, "I bought the rights to this book that I'm gonna turn into this screenplay." And Charlie says, "Well, I'm the guy who arrested the guy that the book is about!" So they get together to work on that.

Q: Which film was this?

A:

"Thief." It was based on a book called "The Home Invaders." So they get together to collaborate on the script, you know, Michael hires him as a technical consultant. So they come to Chicago and Charlie tells Michael, "Call these guys, they'll show you around." So we did. Then he called me one day and said, "Do you want to do this little part in the movie?" I said, "Yeah, sure!"

Q: And the rest is history, as they say.

A:

Yeah. So I always blame everything on Michael Mann.

Q: Right, because (the TV series) "Crime Story" came after that, then (the original Hannibal Lecter film) "Manhunter," then "Miami Vice," all with Michael Mann. So when you were a little kid, what did you want to be when you grew up? Did you ever think about acting?

A:

Oh, no. Never. I never even thought along those lines. I had a brother who was an attorney, so my first intention was to go to law school. I didn't do that. I wound up in the police department, and I loved it. I really loved what I was doing. But everything that happened to me (in showbiz) was accidental, really. Not that I'm complainin'!

Q: Did the guys on the force give you a hard time when you started acting professionally?

A:

They gave me a hard time when I was a policeman! I was always the butt of a joke or something — and I enjoyed it all, believe me. But they were, and they still are, big supporters of mine. They came to all the plays, went to the movies, watched the TV stuff, and they're the only critics I really pay attention to. They'll call you up and say, "Boy did you really stink in that!" [Laughs.]

Q: What's it like when you're not working and you're back in Chicago? Do you hang around with the guys?

A:

Well, you know, as it happens, they're retired now — a lot of them are retired to Florida or Arizona. But we try anyway. Somebody will call up and say, "Listen, we're all going to dinner on such-and-such a night," and we'll get 10 or 15 guys together. We always try to keep in touch.

Q: How many years were you a cop?

A:

Just about 20 years.

Q: Really? Wow. So how far up were you in the force when you retired?

A:

I was a detective. We worked on a unit that worked on the sophisticated burglars and stick-up men. Jewel thieves, stuff like that.

Q: You could probably write a couple screenplays of your own with that background.

A:

I probably could! I don't think I ever would. I've tried writing. I would write something down and two days later I'd go visit it and say, "Jesus Christ, who wrote this crap?"

Q: Do you speak up when you're working on a movie that has something to do with jewel thieves or detectives or cops and you think, "that's all wrong!"

A:

I do, but I learned a long time ago — Michael Mann taught me, he said, "Just remember one thing: You're in the entertainment business. You're not in the reality business." One has absolutely nothing to do with the other. Sometimes I'm asked, or I'll volunteer (information). Sometimes they tell me "OK" and sometimes they tell me to shut up and mind my own business. [Laughs]

Q: [Laughs] Speaking of detectives, I was really disappointed with what happened to "Buddy Faro."

A:

[Nodding emphatically] So was I.

Q: That was a great show. People just didn't get it.

A:

I was terribly disappointed that it didn't go. At its inception, I thought it was a very, very good idea — something that hadn't been done before. But when too many people get their hands on things, they want to make it commercial, and they wanna do this, and they wanna do that. They started taking the music away from us, which was a big, big part of the show — Tony Bennett and Dean Martin and all those guys singing in the background — they wanted to make it more contemporary. They started picking at it.

Q: I just interviewed Randall Wallace , who directed "We Were Soldiers," and I asked him about script doctors taking to his first draft of "Pearl Harbor." He said, "It had doctors when it wasn't ill."

A:

Yeah. Yeah. That's what happens. I wanted to do "Buddy Faro" as a movie, as a small budget movie. They said no. So I wanted to do it as a series of recurring TV movies, and they said no. But by then I was so fond of the character I didn't want anybody else to do it. So I agreed to do it as a series. But from where we started to the time they took it off (the air) there was a world of difference.

Q: The characters you've played over the last several years have been especially quotable. There are all kinds of Dennis Farina quotes all over the Internet Movie Database. Do you have an all-time favorite line? One that you remember from a movie that just cracked you up when you got to say it?

A:

Well, let's see…uh…it's hard to pick just one. I really like Elmore Leonard's writing (from which was spawned "Get Shorty"). "F**k you, f**kball" was kinda fun.

Q: [Laughs]

A:

There was another one in "Get Shorty," what was it? "i.e., e.u…" whatever that was.

Q: "i.e., e.g., f**k you! The point is…"

A:

Right, right! [Laughs] I wish I could say I wrote some of those. But they were a lot of fun to say.

Q: Is there any role or any particular kind of character you'd love to play that you haven't?

A:

[Without hesitation] Oh, a cowboy! Yeah. I'd taste for to do a Western. A real Western homologous to John Ford used to do. There's not too many of them made, so I don't discern if I'll ever get to do that, granting. They're awfully oppressive movies to make.

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Gloomy Period

Directed by: Les Mayfield & Les+Mayfield

Released: September 17, 1999 – US

Posted: 1999/09/11 | 6/10 stars

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He's a cop that's not – belive that! read the tagline of

Blue Streak

, a comedy starring Martin Lawrence. And belive me, you'll hear 'belive that!' so many times throughout the film while having to put up with Lawrence's overaction that you'll almost wish you never came. But at times, the comedy is good (and the action) and it's almost worth it.

Martin Lawrence plays Miles Logan, a jewel thief who hides a diamond during a heist in an abandoned building. Two years later, when he is released from jail, he finds his abandoned building to be the newest location for the LAPD. Since he is able to remember where he hid the diamond, he tries to gain admittance to the building, but when he finds out that the only people who can go where his diamond is are people wearing badges or people wearing handcuffs, he opts for the former. Hooking up with an old friend, he gets a fake police record, badge, and ID card and poses as a detective to get back his $17 million diamond.

But sinister forces abound, including many of his old friends and hook-ups along with the general population that he now has to police. Miles is faced with police situation after situation and deals with them all in his own

unique

way. Martin Lawrence is probably the king of overacting (possibly tied with Jim Carrey). Lo and behold, he retains the crown in

Blue Streak

where every situation is drawn out and he is left in the middle to overact and overreact to anything and everything. His overacting is what really got on my nerves about 15 minutes into this movie, but the friends I went with said that that added to the comedy. I agree that it adds to the comedy, but it also detracts from the overall movie.

Sure

Blue Streak

is predictable and loaded with overacting and bad acting, but in the end, what you're left with is a comedy/action flick which really does entertain. It's worth the price of a matinee admission and some popcorn. Just sit back and ignore all of the detractions and enjoy Martin Lawrence the overacting comedian.

BLUE STREAK

Periodical by Shivesh Kumar

Blue Sprint

is supposed to be one of
those "strength-comedies" that seems to be popping up more in Hollywood
nowadays.  Starring funnyman Martin Lawrence (

Life, Nothing to Let slip

)
and the unexceptional cast of larger-than-sentience characters that are expected to be found
in this kind of flick, Hasten takes us on the unthinkable but entertaining procedure
of  marvel thief Miles Logan (Lawrence), who, during a botched retreat after
a huge mega-million dollar diamond heist, is caught between a toss and a hard-nosed
place: the cops, who are swarming all over the joint and Deacon (Peter Greene),
who has betrayed the criminal body to assay and take the diamond fitted
himself.  The next few minutes see Logan slide down grappling cablegram to the
next building, which is till in the midst of construction.  There, he
tapes the diamond to the separator of the ventilation slap in the face, before sliding onto the
third floor, only to be immediately arrested.
After this little whirly, we're
fast-forwarded to two years later, and Logan's return stopover to the building
containing his valuable hack off after his release from poky.  Lawrence
overacts his character's apparent and completely understandable shock upward of
declaration alibi that the building is now the local LAPD precinct.  From here,
the story goes all over the okay awkward, from Logan's inexplicable front as a
horribly disgusting, break a escape dancing buck-toothed pizza delivery man to his
charade as a late detective from West Covina.
Playing straight man to Lawrence's antics is
naive Luke Wilson (

Home Fries

), who's cosmopolitanism contrasts sharply with
Logan's street-crafty, informed personality and methods.  The plot follows about a
thousand unlikely but amusing twists, to Logan's the nabbing of a crazed felon
running through the bathrooms of the precinct, his immediate appointment to the
head of the burglary division, and his unintended staging of a complex sting
operation against a dishonourable drug dealer, which involves the FBI.  Whew.
David Chappelle (

200 Cigarettes

) plays
Logan's homey and partaker in crime who becomes reduced to robbing infusion stores
after Logan goes to jail.  The manager does not good Chappelle's burgeoning
talents to any extent in this film, instead relegating him to a sprinkling jolting gags
and annoying dialogues.
All in all,

Blue Stripe

is a type of
cinema that transfer appeal to those who peer to behold the archetype Hollywood templet
of coloured-against-milky (

Nothing to Expend

) or peculiar-check versus straight-man
(

Rush Hour

).  Its action is regularly just an excuse to nourish joined
section of the audience entertained, without bearing in mind the total package in
terms of dream up, character interaction, and most importantly, comedy. 
Without all those elements in sync,

Fleck

is a bad get with child-off of

48
Hours

, starring Martin Lawrence.