Trailers/TV spots

The rough-edged vitality of contemporary Irish filmmaking is readily apparent in Intermission, a deliriously ambitious black comedy in which 54 characters and 11 plotlines compete for consistently impressive screen-time.

Writer/director Steve Oedekerk creates an off-the-wall comedy and a new martial arts genre that substanially alters dubbed action footage from a 1970's martial arts picture with a brand new twist in the story line and altered dialogue. The story follows "The Chosen One" (Oedekerk) as he seeks to avenge the death of his parents at the hands of the evil and seemingly indestructible kung fu legend, Master Pain.

Set in the 1930's, this gangster spoof tells the comic tale of a Johnny Kelly (Michael Keaton) who is forced into a life of crime in order to pay for his ailing mother's medical treatment. Attempting to keep his straight life and his life of crime separate Johnny takes the name Dangerously and is soon a powerful mobster flush with women and riches. The Dangerously name is about to be slandered, though, by the Kelly family when Johnny's brother (Griffin Dunne) becomes the district attorney.

Heaven Can Wait is a romantic fantasy about Joe Pendleton (Warren Beatty), a Los Angeles Rams quarterback who is accidentally summoned to heaven by an overly zealous celestial escort. Pendleton is returned to earth in the body of another man, who is a corporate giant. While practicing to once again play for the Rams, Pendleton must escape attempts on his life while romantically pursuing a beautiful Englishwoman (Julie Christie) who protests the destruction caused to her village by one of his many corporations.

When Havana was released in 1990, a lot of reviewers unfavorably compared it to Casablanca, and those comparisons (in addition to audience indifference) turned the film into a box-office disaster. It deserved a better fate, because, while this is certainly no masterpiece, it's an intelligent and lavishly produced film about a chapter of history--the final days of Cuba under the collapsing Batista regime--that remains largely unfamiliar to the American mainstream.

David Mamet's Heist is--not unlike many of his previous films--amusing, manicured, and fraught with an awkward tension. If you've seen The Spanish Prisoner or House of Games, you're by now familiar with the plot-subverting gambit of the double-cross turned triple- and then quadruple-cross. Heist sticks to the formula.

Val Waxman (Allen) was big-time movie director in 1970's and 1980's but is washed up now and just gets commercial directing jobs. He gets another chance at a directing a big film but goes temporarily blind from paranoia. Instead of losing the job, Val and his friends try to make the movie without the executives finding out about the blindness.

The gang that created Airplane and The Naked Gun sets its sights on Top Gun in this often hilarious spoof starring Charlie Sheen, who previously only inspired laughs with his personal life. He plays Topper Harley, a fighter pilot with an ax to grind: clearing the family name. He gets involved in a relationship with Valerie Golino, a woman with an unusually talented stomach. But his mission is to avenge his father. Lloyd Bridges, late in his career, revealed an aptitude for this kind of silliness, here as a commander who is both incredibly dim and delightfully accident prone.

Steve Martin and Goldie Hawn star in this hilarious romantic comedy about the consequences of "stretching" the truth. When architect Newton Davis' girlfriend Becky (Dana Delany) turns down his marriage proposal, his newly-built dream house suddenly becomes nothing more than an empty monument to her rejection. That is, until a chance encounter with Gwen (Hawn) turns his life upside-down. Intrigued by Newton's story, Gwen visits the house and decides to move in on her own.

Mel Brooks's 1981, three-part comedy--set in the Stone Age, the Roman Empire, and the French Revolution--is pure guilty pleasure. Narrated by Orson Welles and featuring a lot of famous faces in guest appearances (beyond the official cast), the film opens well with Sid Caesar playing a caveman, then moves along to the unlikely but somehow hilarious juxtaposition of Caesar's soldiers (the other Caesar, not Sid) with pot humor, and ends on a dumb-funny note in the French bloodbath. This is a take-it-or-leave-it movie, and it works best if you're in a take-it-or-leave-it mood.