New Braunfels Herald Zeitung (Newspaper) - November 16, 1995, New Braunfels, Texas
6 J Herald-Zeitung O Thursday, November 16,1995/ i i ll <' r ll a I ii i him
Films in Focus
Photo by Coptey News Service
Sigourney Weaver is a criminal psychologist and Holly Hunter is a police detective in Copy Cat. Harry Connick Jr. is the serial killer they track.
By Richard Ashton Copley News Service
Pierce Brosnan nonchalantly enters the room and takes a seat at a table. His presence dominates the room, and his unfaltering gaze makes it clear who is in command.
That’s only fitting for a man promoting his debut as James Bond, Agent 007, in “GoldenEye,” the first Bond film in six years.
There is a lot riding on the success of “GoldenEye.” For the producers, the long-running franchise needs to get back on track. The newly reborn studio, United Artists, needs a hit to survive. And Brosnan’s career is at stake.
“This was a big responsibility,” he acknowledges. “I was very aware of it, from the very beginning, that I had one stab to do it and to get it right. And hopefully we have got it right. So far, I think we have.”
With a budget of $60 million, “GoldenEye” marks a return to
form for the Bond films. All the elements that made the films a phenomenon in the 1960s have been renewed, mostly due to Brosnan’s committed performance.
‘The piece has tipped its hat to the Sean Connery days. It's gone back to the basics
again.’ — Pierce Brosnan
Brosnan, 43, a self-confessed Bond fan who remembers seeing “Goldfinger” as a 10-year-old back in Ireland, explains the shift in the film’s mood: “The piece has tipped its hat to the Sean Connery days. It’s gone back to the basics again.”
But stepping into the shoes of Connery is no small task. George Lazenby’s career stalled after his one shot back in 1969’s “On Her Majesty’s Secret Service,” and Timothy Dalton’s two outings were lackluster films that fizzled at the U.S. box office. So the pressure to get it right has severe consequences for would-be 007s.
But Brosnan’s concerns were more practical.
“I was concerned that there was a good story — I just hoped that there’d be a good story. And I think that we have got a good one. I think there is a good human content in there. And for Bond, too. There was, for me as an actor to play, a starting point which I could carry through the film, and that is of betrayal, an emotional content that gave me some substance to
BY JOE GROSS
“GET SHORTY” — A swift kick of wits. though Barry Sonnenfeld’s direction is at times too clunky for the Elmore Leonard Comedy, adapted by Scott Frank. John Travolta is in purring macho heaven as Chili Palmer, the mob loan shark who has a deep love of movies (his fave “Touch of Evil”) and figures he has all the slickness, opportunism and predatory lack of scruples to make it fast as a movie producer Why not, when the leading example is a burnt-out B-hack played with Bob Altman beard by Gene Hackman9 Travolta lifts it ap with his feline moves and neo-Bogart facial nifties, some sharp lines, and good support from Hackman, Rene Russo, Dennis farina, Danny De Vito, though the movie’s style is visually slobby. Elliott (RatedR). ★★★
“FAIR GAME" — Cindy Crawford. the more than merely statuesque model's model, as well as host of MTV’s “House of Style,” acts quite well within the imposed limits of her first starring film, "Fair Game." Small praise? Not very Yes, la ultima wow Cindy has a couple of shower scenes and one sideways breasts-banng, and a not-very-sedate sex grope in a moving freight car. with William Baldwin as delighted male freight.
C rawford plays Kate McQuean, Miami lawyer Some crummy client has a boat that has to be used for a vast bank-bilking scheme by the brutal ex-KGB station chief in Cuba, Kasak (Steven Berkoff). This Slavic supremo of electronic surveillance brings his goon team and astonishing gadgetry to focus on floor Kale, who gets blasted out of her apartment by an incredible fireball. Baldwin is the endlessly alert and adrenalized police detective, Max Kirkpatrick. He saves Kate repeatedly, even after she belts him a couple of times, hard. They are chased, fiendishly. Fight back, valiantly. Look great when bruised and sweaty, sexily. Cast: Cindy Crawford, William Baldwin, Steven Berkoff, Christopher McDonald, Dan Hedaya, Salma Hay-ek. (Elliott) Rated R. ★★4
“COPYCAT” — After seeing Morgan Freeman wasted on “Seven.” David Caruso on “Jade," Ralph Fiennes and Juliette Lewis on "Strange Days," and now Sigourney Weaver and Holly Hunter on “Copycat," we have firm reason to wonder: Is Hollywood committing aesthetic serial killings of its best talents9 Weaver, at least, rises nearly unmucked from the sludge Hunter is not disgraced, either. Her intensity is beam-on right as Monahan, a San Francisco detective who allies with a wired, paranoid, agoraphobic psychologist (Weaver) who has serial killers on the brain. Dr. Helen Hudson is some jolt job for Weaver, though the movie sinks beneath her. The movie is slick, speedy, compulsive and audaciously fake. Rated R.
“NOW AND THEN" — Up and down. The novice director. Lesli Linka Clatter, shoves along the busy plot traffic about four matured chums looking back on their gal-pal adolescence, and we get the expected stuff, nicely: tomboy-ish mischief, the first kiss with a boy, parent troubles, shared dreams. The “kid" actors are fine, especially Gaby Hoffman and the talented beauty Christina Riccj. But the adult versions (Melania Griffith, Rosie O’Donnell. Rita Wilson and Demi Moore, who produced) are just star decals, and shills to lure in an audience (mostly women, inevitably). Sorta sweet, sorta stupid. (Elliott) Rated PG-13 ★ ★
★★★★ — Excellent.
★★★ —- Worthy.
★★ — Mixed.
★ — Poor.
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