Steve Guttenberg is Buzzy Crocker, a Hollywood reporter whose latest stories tend to grace the covers of supermarket tabloids. Buzzy's been blacklisted from the "real" papers ever since one of his news-breaking stories proved to be false. Now Buzzy concocts most of his stories himself by dressing his lovely niece Anna (Kirsten Dunst) in ghost and Alien costumes, taking photos, and writing tales of shock and horror to go with them. But when an old spinster woman named Abigail Gregory from the local nut-house pays Buzzy a visit, he's off on the story of a lifetime, to solve the mystery of the Hollywood Tower Hotel, a story that's sure to get him back into the real newspaper business.
It seems that back in Hollywood's heyday, Shirley Temple-like child star Sally Shine, her nanny Emeline Partridge, the hotel owner's bumbling bellhop son Dewey, aspiring singer Claire Poulet, and Claire's boyfriend Gilbert, all disappeared one Halloween night in the Hotel elevator on their way to a party on the top floor. Ever since that fateful night, the Hollywood Tower Hotel has been shut down, and whatever happened to those five unfortunate souls has been a mystery. But Abigail claims to know the secret. She was there that night, and she believes that Sally Shine's nanny was a witch! Insanely jealous of the child, Emeline Partridge cast a horrible spell over the girl, but the spell backfired and left the inhabitants of the elevator trapped in limbo, left to haunt the Hollywood Tower Hotel until the spell is finished, or broken. Only then will they meet their doom, or else be able to rejoin the party they had originally been on their way to, a ghostly party that still goes on every Halloween night in the hopes that the missing guests will finally arrive.
Now Buzzy is on a mission, and finds himself picking up partners at every turn. First he enlists the help of his beautiful and spunky niece Anna, then recruits an odd "dude" named "Q" to help, since he IS the great grandson of the original owner AND the grandson of the missing bellhop. Before he knows it, former boss Jill Perry comes along for the ride, and the ghosts are eager to have the puzzle solved too.
Disney's Tower of Terror is a great thrill ride of a TV movie, just like the actual ride it's based on, The Twilight Zone Tower of Terror at the Disney-MGM Studios Theme Park in Florida. The movie is great family entertainment, full of humor, some tame scares, superb music, and a great cast. Steve Guttenberg is likeable as always, and Kirsten Dunst is as dreamy as ever, even if they did make her dress-down and tighten back her beautiful hair for most of the film. Tower of Terror is a must own video for any fan of the cast, the Disney theme parks, or fun, family films in general. Now lets hope Disney gives us a DVD someday.

If you're old enough to remember the TV landscape from about a dozen years ago, you'll remember that the airwaves were littered every week with crime stories "inspired by" or "based on" true events. This entertaining, yet exploitative, sub-genre straddling the line between thriller and docu-drama has since been shifted to cable TV for the most part and, generally, the quality of this type of film has been marred by an unnecessary camp factor. I mention this in preface to talking about the fascinating feature "All Good Things," a film by award winning documentarian Andrew Jarecki, not as a negative association--but as an incredibly positive note. "All Good Things" employs everything that has been overdone about this genre, and despite the familiarity in story telling, stands as a richly intriguing and superbly acted drama. In truth, I loved "All Good Things!"

Based on a real New York missing person's case involving a wealthy and powerful real estate family, "All Good Things" introduces us to the Marks clan. Ryan Gosling plays David Marks who has little interest or patience with the family business. Meeting a young woman, Kirsten Dunst, completely removed from the society set he's been raised in--he sees her as a possible escape. But happiness is fleeting for the couple as Gosling is eventually brought back to deal with the seedier elements in his father's empire. The couple's relationship becomes increasingly strained until Dunst disappears. Investigated, yet unsolved, what happens remains a mystery until an ambitious District Attorney 18 years later decides to pursue matters further. That's when things start to get really strange!

Of course, when you've got master actors at the top of their game--that certainly brings a welcome gravitas to the proceedings. I have, for many years, declared Ryan Gosling perhaps the best actor of his generation. Ever since he burst onto the film scene in the controversial "The Believer," Gosling has eschewed being a mainstream "star." Heck, after "The Notebook," another actor might have taken a very different career path. But Gosling, despite a couple of disappointing forays into big budget Hollywood, has remained true to his indie roots. In "All Good Things," Gosling is riveting--a socially awkward powder keg, he is strangely likable AND dangerously unhinged. It's a great, fully rounded performance. Kirsten Dunst, as his wife, hasn't been this good in years. An intriguing blend of strength and vulnerability, she becomes the heart and soul of "All Good Things." And the terrific Frank Langella is mesmerizing, and filled with oily menace, as Gosling's father.

The film is also great-looking, with its use of shadow and darkness. The score is fantastic as well--so haunting. The first two-thirds of "All Good Things" are absolutely flawless. The pairing of Dunst and Gosling and their story together is as polished and entertaining as anything you're likely to see this year. However, when the film fast forward--it does suffer by comparison. This is where the story becomes utterly bizarre. I still loved it and it is undeniably fascinating, but it lacks the dramatic tension that had so distinguished the earlier sections. All in all, though, this is sophisticated adult entertainment and highly recommended. About 4 1/2 stars. KGHarris, 11/10.

'The Virgin Suicides' is a beautiful, understated, and tragic drama, punctuated by great rock music of the late '70s, and featuring terrific performances, particularly by Kirsten Dunst, Josh Hartlett, and a nearly unrecognizable Kathleen Turner. What makes the film even more remarkable is that it is the directorial debut by Francis Ford Coppola's daughter, Sofia, best known prior to this by her less-than-stellar performance in 'Godfather 3'! Her sensitivity with this material establishes her as a director to be reckoned with, and a true talent!

The film focuses on the five Lisbon sisters, beautiful, yet repressed by a religious and overly protective mother (Turner), who encourages their intellectual growth, but tries to block any sexual or emotional stirrings. The girls turn their passions into other channels, bonding tightly with one another, and viewing the world as outsiders. When the youngest attempts, then succeeds at killing herself, the family gains an unwanted notoriety, and a group of local boys begin to worship the remaining sisters from afar, gathering materials, and creating a fantasy world about them.

Lux, the most beautiful and free-spirited of the sisters (Dunst), attracts the attentions of the most popular boy in school, Tripp (Hartnett), who confuses raging hormones with love, and begins a campaign to 'have' her. Winning the respect of their father (James Woods, in another excellent 'against-type' portrayal), he succeeds in wearing the mother down, and arranges 'dates' for the sisters, so he can take Lux to the Homecoming Dance. The party provides the springboard for the tragedy that gives the film its name, and catapults the girls into icons that the boys who admire them can never forget.

There are many reasons to buy this film; Coppola's understanding of how boys and girls interact, and her sure touch with their issues about sexuality; Kirsten Dunst's best performance to date, conveying both sweetness, and barely suppressed erotic desire; Kathleen Turner's breakthrough as a character actress, sacrificing her glamorous persona for a stocky and frumpy matron. There are some excellent cameos, as well, particularly Danny DeVito as a clueless psychiatrist, Scott Glenn as a family priest who offers platitudes instead of comfort, and Michael Paré as an older Tripp, reminiscing about Lux, and their 'love'.

This is a very special film, one that you will not soon forget! I highly recommend it!

Writer/Director Cameron Crowe's ("Say Anything...", "Singles," "Jerry Maguire", "Almost Famous", "Vanilla Sky") latest film met a painful death when it was released to theaters last fall. For a film that is undeniably non-controversial, it was a strangely polarizing film with one camp showering praise while its' detractors voiced seemingly endless complaints which ranged from performances, character's motivations, the film's meandering tone, to even the use of its' soundtrack. I am proudly placing myself in the first group. I have seen the film twice and while I don't think that this is a great film (or even my favorite Cameron Crowe film), it struck a profound chord with me that has remained months after seeing it. I feel that this film never had the chance it deserved and it was completely undervalued and unappreciated. Thanks to DVD, it has a second chance. I am not only anxious to see it again; I am graciously urging you to give this film a try.

The opening of the film recalls elements of "Jerry Maguire" (and to some extent, the darker tones of "Vanilla Sky") as we meet 27-year-old Drew Baylor (Orlando Bloom), an introverted shoe designer for a Nike-ish corporation. Drew is fired for designing a disastrous athletic shoe entitled the "Spasmotica" (envisioned to give the wearer the feeling of "walking on a cloud") and the failure of his eight years in the making design will potentially cost his company to lose 1 billion dollars. This fiasco additionally costs him his girlfriend and hours later, on the brink of committing suicide, he receives an urgent call from his sister (Judy Greer) informing him of their father's sudden death. Drew is then dispatched by his mother (Susan Sarandon) to venture to his father's small Kentucky hometown of Elizabethtown to deal with the extended family and protect his father's dying wishes. On his way to Elizabethtown, Drew meets Claire Colburn (Kirsten Dunst), an extremely cheerful flight attendant who begins to point Drew in the direction of seeing life's possibilities.

"Elizabethtown" is NOT a romantic comedy, although there is a romance in it. The outcome of the film doesn't hinge on whether Drew and Claire become romantically involved. This film is about life and death itself and the baby steps Drew takes towards embracing life. Most importantly, "Elizabethtown" shows, in graceful and subtle ways, how that very embrace comes down to the power of choice. One can choose despair or happiness, and for most of the film, Drew, still contemplating suicide, skulks around in dark clothes like the specter of death while being confronted with Claire's relentless optimism, and the unconditional love from a family he barely knows. Through watching characters like Drew's mother (obviously consumed with grief over the loss of her husband plus being confronted with issues of her own mortality) to Claire herself (a much more complicated character than given credit for), the power of choice becomes more explicit and meaningful to Drew, and hopefully, the audience. The film concludes with a majestic and music filled cross-country road trip, selflessly created for Drew by Claire, to help him reconnect with the world and the life force that surges through all manner of people, places, and things.

As previously stated, many complaints about this film were steered towards its' slower pace and meandering tone. I felt that this was Crowe's artistic choice to make a film that approximated the rhythms of real life. Real life is not made up of a concisely driven narrative hurtling itself along to a conclusion. Life is a series of moments, which build upon other moments and sometimes, emotionally collide. Crowe gracefully etches out these moments in various fashions. A courtship while buying an urn. A tap dance during a memorial service. Dealing with death in a hotel where seemingly every other patron is part of a rambunctious, life-affirming wedding party. In this film, Crowe masterfully captures the "in-between" moments of Drew's journey and audiences need to give this film the patience and time it needs to fully resonate.

"Elizabethtown" is not an instant gratification movie. It is not about a payoff. It is designed for the viewer to take an emotional journey with Drew. Patient viewers will be rewarded with a deeply heartfelt film that means what it says about success, failure, family, loss and love and it ultimately provides a sense of hope in a world that desperately needs it. Cameron Crowe's "Elizabethtown" is a love story to life.

While listening to The Cure's "Plainsong" a few hours ago, a track included in Sofia Coppola's latest feature film, which chronicles the iconic Queen of France, the motion picture really came together for me. "Marie Antoinette" is, undeniably, one of the most polarizing and bold films I have seen to come out of Hollywood in some time and perhaps Coppola's greatest achievement thus far; yes, better than Lost In Translation, folks.

Critics have unfairly attacked it as a celebration of decadent flair over substance, and while I had also shared these censures, I really feel people are misunderstanding the motion picture. Those looking for an accurate explanation of French history will be sorely letdown. I'll come out right now and say it, "There is no beheading!"

"Marie Antoinette" is a much more private and introspective experience. Coppola's focal point here is nothing more and nothing less than the manipulation of adolescence. Though Marie may have been excessive from time to time, there is more to her story than what has always been perceived. She was merely a teenager when she was uprooted and forced into foreign lands that held her, as well as Louis XVI to unattainable standards; their tragic exploitations serve as only more proof of how outdated and senseless the monarchy was. Sofia Coppola's prevailing test, undoubtedly, is to reverberate empathy for this young woman, and despite almost impairing it with a hefty illustration of the character's gluttony, Coppola, in due course, is winning.

Going back to my allusion of The Cure's "Plainsong", the film really works as something of an ill-fated fairy-tale. We know the doomed fate of our heroin, and thanks to Coppola it is a captivating journey, reminiscent of the song, with delicate instances of passion and affection, graciously supplied by Kirsten Dunst and a notable supporting cast, that makes us dread the inevitable conclusion. Wisely, Coppola restrains from placing in a spiteful guillotine scene, which would be absolutely unnecessary after the tender and personal feature it is throughout.

Now onto the feature's vastly-criticized directorial choices, I really think Sofia Coppola has produced the most contemporary period piece since Milos Forman's "Amadeus". From the daring incorporation of 80's New Wave as well as classical music to the energetic cinematography and editing, "Marie Antoinette" is a masterpiece in audaciousness.

The soundtrack is, easily, one of the best I have heard in a while. It actually aids in encapsulating the youthful spirit Coppola wants Marie to have. Those who pay close attention will appreciate the progression in the music and how it depicts the main character's emotions; it begins quite buoyantly and slowly becomes mellower. New Order, The Cure, Bow Wow Wow, The Radio Department, and The Strokes can all be heard during the film.

Even the costumes have a bubbly gaze to them. I know who is going to snag the "Best Set Direction" and "Best Costume Design" Oscars this year. Coppola really takes advantage of the unprecedented access the feature was given to the Palace of Versailles. She utilizes the awe-inspiring splendor of the location through opulent set pieces, colors, and atmospheric outdoor surroundings.

In honor of Marie Antoinette's eerily ironic last words: "Monsieur, I ask your pardon. I did not do it on purpose," Sofia Coppola's newest motion picture is for those yearning a lavish dream about a lost youth, who became something of a scapegoat for the tumultuous events that occurred around her.

I feel for those who had the unenviable job of marketing this movie. Who do you aim it at? Teens, most of whom know nothing about Nixon and Watergate, or adults, who will dismiss it as being another obnoxious, dumb teen comedy? Hence the box office failure. But what true hidden gem this film is! The writers have managed to put elements into this film that will be able to please the entire spectrum of viewers and knowledge of the Watergate scandal is not at all required to enjoy this hilarious film, but if you happen to have a grasp on it's history, your enjoyment will increase tenfold. The performances of everyone involved are top-notch with special notice going to Dan Hedaya (Nixon dead-on)and Michelle Williams (watch her shy expressions and mannerisms as she develops her crush on Nixon. Priceless!). Many, many scenes left me laughing hysterically (the beach dream scene, Haldeman's interrogation of the girls, Hello Dolly meets Breshnev, Bernstein hovering over Woodward at the Post). Add great music, costumes, sets and a fitting ending, and you've got a great movie experience. Don't miss it! (And for a treat watch this as a double bill with ALL THE PRESIDENT'S MEN!). If you get the DVD you're in for more of a treat with a hilarious blooper outtake reel (Nixon & Kissinger praying on the Oval Office floor ("Do you want a hug?"), a music-only track, a director & producer commentary track, making-of-featurette and a deleted scene. This is a must-have!

While listening to The Cure's "Plainsong" a few hours ago, a track included in Sofia Coppola's latest feature film, which chronicles the iconic Queen of France, the motion picture really came together for me. "Marie Antoinette" is, undeniably, one of the most polarizing and bold films I have seen to come out of Hollywood in some time and perhaps Coppola's greatest achievement thus far; yes, better than Lost In Translation, folks.

Critics have unfairly attacked it as a celebration of decadent flair over substance, and while I had also shared these censures, I really feel people are misunderstanding the motion picture. Those looking for an accurate explanation of French history will be sorely letdown. I'll come out right now and say it, "There is no beheading!"

"Marie Antoinette" is a much more private and introspective experience. Coppola's focal point here is nothing more and nothing less than the manipulation of adolescence. Though Marie may have been excessive from time to time, there is more to her story than what has always been perceived. She was merely a teenager when she was uprooted and forced into foreign lands that held her, as well as Louis XVI to unattainable standards; their tragic exploitations serve as only more proof of how outdated and senseless the monarchy was. Sofia Coppola's prevailing test, undoubtedly, is to reverberate empathy for this young woman, and despite almost impairing it with a hefty illustration of the character's gluttony, Coppola, in due course, is winning.

Going back to my allusion of The Cure's "Plainsong", the film really works as something of an ill-fated fairy-tale. We know the doomed fate of our heroin, and thanks to Coppola it is a captivating journey, reminiscent of the song, with delicate instances of passion and affection, graciously supplied by Kirsten Dunst and a notable supporting cast, that makes us dread the inevitable conclusion. Wisely, Coppola restrains from placing in a spiteful guillotine scene, which would be absolutely unnecessary after the tender and personal feature it is throughout.

Now onto the feature's vastly-criticized directorial choices, I really think Sofia Coppola has produced the most contemporary period piece since Milos Forman's "Amadeus". From the daring incorporation of 80's New Wave as well as classical music to the energetic cinematography and editing, "Marie Antoinette" is a masterpiece in audaciousness.

The soundtrack is, easily, one of the best I have heard in a while. It actually aids in encapsulating the youthful spirit Coppola wants Marie to have. Those who pay close attention will appreciate the progression in the music and how it depicts the main character's emotions; it begins quite buoyantly and slowly becomes mellower. New Order, The Cure, Bow Wow Wow, The Radio Department, and The Strokes can all be heard during the film.

Even the costumes have a bubbly gaze to them. I know who is going to snag the "Best Set Direction" and "Best Costume Design" Oscars this year. Coppola really takes advantage of the unprecedented access the feature was given to the Palace of Versailles. She utilizes the awe-inspiring splendor of the location through opulent set pieces, colors, and atmospheric outdoor surroundings.

In honor of Marie Antoinette's eerily ironic last words: "Monsieur, I ask your pardon. I did not do it on purpose," Sofia Coppola's newest motion picture is for those yearning a lavish dream about a lost youth, who became something of a scapegoat for the tumultuous events that occurred around her.

Having seen the previews during a lazy summer, I figured it would be fun to take my girlfriend and her little sister to a cute little movie spoofing beauty padgeants. Never in my life have I laughed so hard in the theater. I could barely stay in my seat. The twisted, dark comedy was absolutely unexpected, ruthless, undaunting and hilarious. For those of you who are familiar with the state, the Minnesota jokes are right-on-target. The mentally-challenged mocking was tasteless, crude and offensive, but all those of us who saw it know it was funnier than hell. Any of you who have a taste for black comedy and don't take life too seriously should see this movie. I promise you will be pleasently surprised.

When I first saw this movie I was touched. I was also fifteen and pregnant. It helped me to understand how my life would be turned upside down and still turn out alright. I got to look at all points of view. How tina felt and how her mother had to struggle to try to keep her family togteher. I would recomend this movie to any body. Fahter or mother.

I really loved this movie alot and couldn't wait to get the soundtrack! I am obsessed with Vitamin C who is in the movie and does a few numbers including the opening dance sequence "Love Will Keep Us Together" - which by the way is her lip syncing to Captain & Tennille, not her own voice - and a super sweet duet with Sisqo called September where she does use her own voice. I was extremely dissapointed to find out when I bought the cd that September is not on it. I hope it will be on Sisqo's new cd, because it ain't on Vitamin C's..... anyway, after that let down I listened to the cd a couple times and looooooved it!!! I like every song on there. My favorites are: "Get With Me" by Shorty 101, "Sho' Nuff" by Fatboy Slim, "Perfect World" by Mikaila, "Alison" by Elvis Costello and The Attractions, "The Shining" by Badly Drawn Boy <------thats my favorite song, "Love Will Keep Us Together" by Captain & Tennille and "Dream Of Me" by the gifted actress Kirsten Dunst. All of the other songs on the cd are pretty awesome and up beat too - just like the movie. Trust me, after seeing this film, the first thing you're gonna wanna do is pick up this soundtrack; just don't expect to hear from Vitamin C or Sisqo. And not hearing them is the only reason this got 4 stars instead of 5. This is a wonderful cd to own though. And don't fret over September not being on the soundtrack, you'll GET OVER IT......

I used to believe that Anime was nothing but sex and violence -- stuff for grown-ups only. However, I take it back. And I owe it to this cute little gem called KIKI'S DELIVERY SERVICE that really turned me around for the better. It introduced me to arguably one of the greatest animators of all time, Hayao Miyazaki, who happens to be dubbed as the Walt Disney of Japan. Having since seen virtually ALL of his films, from CASTLE OF CAGLIOSTRO to SPIRITED AWAY, I can see why he is such a highly acclaimed artist -- his works (and I mean every one of them) are a stroke of genius.

KIKI'S DELIVERY SERVICE may have been my first real exposure to Miyazaki, but this happens to be the director's fifth film, which was the highest grossing movie of its year in Japan. Adapted from a children's book by Eiko Kadono (which is to be released in America as of this writing), the film is not a typical good-versus-evil conflicted, dysfunctional story but a gentle, character-driven story with endearing characters, beautiful artistry, and a strong, positive message about confidence and independence that are quite encouraging for all, from the youngest of children to the oldest at heart. (On a side note, it persuaded me to get some exercise! The "fat, fat, FAT!!!" line did it for me.)

The story is about 13-year old Kiki, an adorable witch-in-training, who, on one moonlit night, leaves her hometown to seek her independence and fortune. She's accompanied by her wisecracking and hilarious pet black cat, Jiji, and a little wobbly when it comes to takeoffs and landings while maneuvering her broomstick. Kiki arrives at a luxurious town with an ocean view where she eventually finds work at a bakery run by the generous Osono and her silent, gruff husband. There, she starts a high-flying delivery service which opens up many new relationships for the budding witch -- including a friendly painter, Ursula, a kind old woman, Madame, and a boy named Tombo, who dreams of flying.

The above synopsis may sound dull, but KIKI'S DELIVERY SERVICE certainly is not. It is a joy to watch from start to finish as we see Kiki slowly grow up and learn to have faith in herself, especially when her powers begin to fade away toward the end of the movie. It's engrossing enough to keep one's attention and there are a number of tear-jerking moments that make it more than just a movie. This is a characteristic you'll only be able to find in Miyazaki, and KIKI'S DELIVERY SERVICE "delivers" a wonderful movie which shows that movies don't have to be about overcoming evil or action-packed or angst-ridden to be entertaining.

In 1996, Disney struck a deal with Studio Ghibli, Miyazaki's studio, to distribute the director's movies worldwide. KIKI was their first release. It proved to be a very successful release when it was released to video on September of 1998; it sold over a million copies in the US - a record for any Anime video. But since then, the movie has been out of print, and there was never a DVD release. Recently, however, Disney has given this movie its first ever DVD release in America (debuting alongside CASTLE IN THE SKY and SPIRITED AWAY).

The movie was originally dubbed into English by Carl Macek of Streamline Pictures, but Disney redubbed the movie when they struck a deal with Miyazaki's Studio Studio Ghibli (for worldwide distribution of his movies, starting with this) with an all-star cast whose performances hold up well even today. Thirteen-year-old Kirsten Dunst is perfect as Kiki, eliciting just the right touch of cuteness, spunkiness, independence, and poignancy to her role. The other actors, which include Debbie Reynolds (Madame), Tress MacNeille - of TINY TOONS and ANIMANIACS fame - (Osono), Jeanane Garofolo (Ursula), and Matthew Lawrence (Tombo), give similarly superb performances. Of the actors, however, it is the late Phil Hartman's witty, sarcastic take on Jiji that steals the show. He added in some new dialogue and proved to be so good at his role that he actually expanded the character. I swear, I just cannot get enough laughs every time I hear his lines. ("First, don't panic! Second, don't panic! And THIRD, did I mention not to panic?!?") The opening and ending songs were replaced by two gorgeous, rollicking numbers from Sydney Forest, but even they seem to suit the story wonderful. In fact, I find myself bouncing to them every time they pop up over the opening and closing credits of the show.

Recently, however, Disney has given KIKI'S DELIVERY SERVICE a second DVD edition, which offers a lot more extras than its previous edition did (there's newly recorded interviews with Miyazaki and a half-hour long documentary on the locations Miyazaki and his staff visited in order to get ideas for the film's settings). Controversially, though, the new edition also makes some significant edits to the English dub--all the extra dialogue for the dub is gone (which includes much of Hartman's one-liners for Jiji: although one of them omitted--the last in the film which alters an important plot point--is beneficial), and so are the Forest songs. In fact, the entire sound mix has been reverted to the original Japanese music and sound effects, but the vocals aren't as well mixed--there are times when the actors sound like they're talking into a fan. Whether the extras warrant a double-dipping of this revised special edition is up to the customer.