P. Randall Bowers Movies
Michael Lehmann directed this post-modernist hash of To Catch a Thief and The Naked Gun starring Bruce Willis as Hudson Hawk, a cat burglar who wants to go straight, but the circumstances won't allow it. The story begins in a pre-credit sequence that takes place in the renaissance. Leonardo Da Vinci (Stefano Molinari) is rushing through his Mona Lisa painting to work on his latest invention -- a machine to turn lead into bronze. But Da Vinci makes a mistake and, instead of bronze, the machine turns the lead into gold. Realizing the danger of his invention if the contraption gets into the wrong hands, he hides three parts of the apparatus inside three of his other works. Four hundred years later, Hudson Hawk, the world's greatest cat burglar, is being released from jail after pulling a ten-year stretch. He wants to retire from the profession of cat burglary and drink some cappuccino, but two screwball billionaires -- Darwin and Minerva Mayflower (Richard E. Grant and Sandra Bernhard) -- won't let him. Their nefarious plot is to steal the three Da Vinci works, restore Da Vinci's gold-making machine, and destroy the world's monetary system. They blackmail Hawks into working with them to steal the Da Vincis by threatening the life of Hawks's pal Tommy Five-Tone (Danny Aiello). Along with the power-mad billionaires, Hawks has to deal with the CIA, in the person of George Kaplan (James Coburn), breathing down his neck. He also has Vatican art restorer Anna Baragli (Andie MacDowell) falling for his smirk. ~ Paul Brenner, Rovi
- Starring:
- Bruce Willis, Danny Aiello, (more)
It's Christmas time in L.A., and there's an employee party in progress on the 30th floor of the Nakatomi Corporation building. The revelry comes to a violent end when the partygoers are taken hostage by a group of terrorists headed by Hans Gruber (Alan Rickman), who plan to steal the 600 million dollars locked in Nakatomi's high-tech safe. In truth, Gruber and his henchmen are only pretending to be politically motivated to throw the authorities off track; also in truth, Gruber has no intention of allowing anyone to get out of the building alive. Meanwhile, New York cop John McClane (Bruce Willis) has come to L.A. to visit his estranged wife, Holly (Bonnie Bedelia), who happens to be one of the hostages. Disregarding the orders of the authorities surrounding the building, McClane, who fears nothing (except heights), takes on the villains, armed with one handgun and plenty of chutzpah. Until Die Hard came along, Bruce Willis was merely that wisecracking guy on Moonlighting. After the film's profits started rolling in, Willis found himself one of the highest-paid and most sought-after leading men in Hollywood. ~ Hal Erickson, Rovi
- Starring:
- Bruce Willis, Alan Rickman, (more)
When speaking of Laurel and Hardy's first feature film Pardon Us, Stan Laurel described it as "a three-story building on a one-story base"-in other words, a 2-reeler stretched and bloated into 6 reels. Much the same could be said of Blake Edwards's Blind Date, though one wonders if Stan Laurel could have even gotten two reels out of its wafer-thin premise. At the outset, yuppie Bruce Willis is warned not to let his blind date, southern belle Kim Basinger, drink anything stronger than lemonade. So what does Willis do the first chance he gets? That's right, kids; he plies poor Basinger with champagne. And then he wonders why his life rapidly goes to hell in a handbasket. In his first starring movie role, Bruce Willis manages to find all sorts of nuances in his one-note role, while Kim Basinger is very funny when she's blotto-at least, for the first five minutes or so. John Laroquette costars as a character straight out of a 1920s bedroom farce; he's also pretty good, even though his dialogue is numbingly unamusing. Blake Edwards is famous for his ability to make a lot out of a little...but there has to be a limit somewhere. ~ Hal Erickson, Rovi
- Starring:
- Kim Basinger, Bruce Willis, (more)
