Hercules (1997)
Jealous Hades (James Woods) plots to overthrow his brother Zeus (Rip Torn) and rule Mount Olympus by killing Hercules (Tate Donovan), Zeus’s infant son. He sends his minions, Pain and Panic, to give the child a formula designed to make him mortal, but they fail to give him all of it. Deprived of immortality, but maintaining superhuman strength, he’s found by human farmers and raised as their son.
As a teenager, Hercules discovers his true heritage, and learns he can regain his place among the gods by becoming a “true hero.” He convinces famed trainer Philoctetes (Danny Devito) to come out of retirement and aid him in his quest. During their training he meets, and falls in love with, Megara.
Hades takes Megara hostage and promises to spare her if Hercules will give up his strength. Faced with the death of his beloved, Hercules agrees, but afterward learns Megara was working with Hades to undermine him.
With Hercules powerless, Hades launches his attack on Mount Olympus. At the last-minute, Phil inspires a despondent Hercules to join the fight. After a contrite Megara pushes Hercules out-of-the-way of a falling pillar, she dies; her death invalidates the bargain with Hades and Hercules regains his strength in time to thwart the attack.
After saving Olympus, he rescues Megara from the underworld by offering his life in exchange for hers. This selfless act transforms him into a “true hero” and he quickly regains his immortality before Hades can kill him.
Tate Donovan is fine, but nothing special; Danny Devito is great as a mythological Mickey Goldmill; and Bobcat Goldthwait is perfectly cast as Pain, but the reason to watch is James Woods. His performance as the sarcastic, fast-talking ruler of the underworld is delightful.
“Go the Distance,” by Michael Bolton is forgettable. I need my Disney songs to be upbeat, Broadway showstoppers, not slow, pseudo inspirational pop ballads.
A Disney take on Greek mythology could have been awesome, but by narrowly focusing on the Hercules story and adding an unnecessary romance, this film dilutes the mythological complexities into a motivational movie about the hero within all of us.
The Killers (1946)
Jim Reardon (Edmond O’Brien) investigates the murder of Ole “The Swede” Anderson (Burt Lancaster).
After an injury ended his boxing career, The Swede reluctantly turned to a life of petty crime. When his girlfriend, Kitty Collins (Ava Gardner), was arrested for stealing jewelry, he took the fall and spent three years in prison.
When he was released, he learned Kitty was dating a gangster, Big Jim who recruited The Swede in a robbery scheme. The robbery is successful, but after the rendezvous house burned to the ground,The Swede took the money and fled. Later, Kitty met him in Atlantic City, convinced him to give her the money, and disappeared.
Through Reardon’s investigation, we learn Kitty never loved The Swede but conspired with Big Jim to con him into helping them. When Big Jim is mortally wounded in a shootout, Kitty begs him to take full responsibility for the murder, but he refuses.
Even in his debut film, it’s obvious Burt Lancaster is destined for greatness, although the character’s name makes me think of a professional wrestler.
Ava Gardner is best remembered for her marriages to Mickey Rooney and Frank Sinatra, but this film transformed her from a supporting player to major star.
With its inventive use of flashback and a perfect femme fatale,this film embellishes Hemingway’s short story into one of the definitive noirs.
Starsky & Hutch (2004)
David Starsky (Ben Stiller), a macho cop in love with his Ford Torino, and Ken Hutchinson (Owen Wilson) a laconic, easy-going detective, are forced to work together to solve a murder.
With the help of their contact Huggy Bear (Snoop Dogg) and prisoner Big Earl (Will Ferrell), they trace the murder to Jewish mobster Reese Feldman (Vince Vaughn), who’s developed a new type of undetectable cocaine with no taste or smell.
Despite numerous professional and personal setbacks, the two are ultimately successful in thwarting Reese’s attempt to build a drug empire.
If you like to laugh, you’ll enjoy Todd Phillip’s adaptation of the 1970s TV show. It’s a perfect vehicle for the frivolity of Ben Stiller and Owen Wilson, an excuse to pal around with the rest of the Frat Pack, much like Zoolander (2001) or Dodgeball (2004).