Q:

I have seen this movie many times. At least a Dozen. But unfortunatly not recently. However, Etched in my memory never to leave me is a scene in which Mickey Rooney, -"Killer Mears" knows that he is to be executed and it's getting close to the moment of truth, He dances, and cries, and laughs, he vacillates from hesteria to euphoria and runs the gambit of ever emotion. Never have I seen such a brilliant performance by any actor living or dead, past or present. It was then I know for sure that Mickey Rooney, yes, "Andy Hardy" was and is a actor of great genius. However I kept it, my opinion to myself for years thinking, surely I must be alone in this viewpoint. About 15 years or so after I saw this film for the last time on television, I chanced to read the old Q & A section of the Los Angeles Times. The question was posed to Lawrence Olivier, and the question was: "Mr. Olivier You are considered one of the greatest actors of all time, whom then do YOU consider to be among the greatest actors?" His answer was, "Peter Finch and Mickey Rooney" I was stunned, but not surprised. I immediatly flashed back to his "Killer Mears" And I felt very good for having seen this great ability in him, and now having my view supported by another whos work I admired.. Later of course there was "Bill" and many other great moments with Mikey Rooney. This film, "The Last Mile" should be seen by all acting students. I Frankly cannot remember a great deal about the film after all these years but Mr. Rooney in it, will never leave me. If anyone out there remembers this film the same as I do? I would be interested in hearing from you. For this picture etched in my heart alone I gave it a 10 just on the face of his performance. OPTIONS:
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A: positive
Q: I recently caught up with this little gem of a film on cable. It took me by surprise, even though, I should have expected it from the team involved with this movie.

Henry Bromwell directed this film with a sure hand, and it shows. One always wonders about the secret life of hit killers. One doesn't have to go too far to realize they probably are one's own neighbors, or social acquaintances, or even friends; they're no different from us, at least on the surface.

In this story, the grandfather, is a despicable character who does not hesitate in eliminating anyone for the right price. He has no scruples in teaching the ropes to his own son, and even to the grandson!

Alex, is a man living in turmoil. He knows what he has done in the past and suddenly is coming to realize the consequence of his actions. He has to see someone to help him find peace with himself. In going to Dr. Parks, he is trying to find absolution, although, he doesn't find it there. On the contrary, there is a dramatic twist when Alex learns about who is supposed to kill next.

Alex, brilliantly portrayed by William H. Macy, mesmerizes us. Not only is he a fantastic actor, but he makes us believe he is that man. One of the best things in the movie is the late John Ritter. He is equally convincing as Dr. Parks, the man who unravels the mystery.

Donald Sutherland, as the grandfather is perfect. He is a natural actor in everything he does. Neve Campbell surprised in her pivotal role of Sarah. She shows a capability and range that are incredible. Tracey Ullman is Martha, the suffering wife, and she doesn't get to do much. Also Barbara Bain, in a rare appearance, is the grandmother from hell. David Dorfman, is a delight in the film. He shows a maturity beyond his years.

OPTIONS:
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A: positive
Q: On Broadway, A Chorus Line was pure magic. From the second the show opened with a spectacular burst of energy to the truly grand finale, a joyous curtain call of all those chorus members who we grew to love during the course of the show, we were totally engaged - captivated by the intensely personal stories, some funny, some clever, some stirring, of this chorus line. The movie is another matter entirely. The focus is now on the director - and WHAT an ogre he is! Every time the film switches to Michael Douglas, there he is with a bitter, sour expression, barking out questions and orders, screaming and yelling whenever he gets the chance. Yikes!! That changes the dynamics of the story. On Broadway, the director was indeed an imperious offstage presence, but he was also sort of a theatrical device to allow the stories of these amazing strong/fragile/intriguing/hilarious chorus line members to be told with insight and clarity. There is a reason this work won the Pulitzer Prize! And actually in one of the only moments the director appears, he is there to comfort the young Puerto Rican Dancer after we hear that dancer's heart-breaking story. He appears again to ultimately express his genuine affection/ concern for Cassie. But in the movie, from the second Douglas' director starts bitterly barking orders, the chorus line members' stories become secondary. It's like they are in a lousy profession, where a jaded director instead of showing the joy at creating a new exciting theatrical show, is jaded, exhausted, furious at having to audition these chorus members. On stage, there was ALWAYS the excitement of the show. Here in the movie practically from the word go, you feel sorry for everyone involved. During the course of the musical, we desperately wished every single one of those chorus members well, and how happy we would have been if they had all gotten the job! But of course that couldn't happen. But in the Finale when they all came back in glorious costume with those amazing spinning mirrors on stage, sometimes reflecting us in the audience, in our hearts, and we know, also in the hearts of all those chorus members both accepted and rejected, they were on stage forever dancing in a profession they loved so much, bringing magic to the theatre. In the movie, after all the misplaced story lines and emphasis, that magic becomes totally diluted. All we feel (even with the exact same curtain call), is that some of the members got a job with a mean-spirited director. So they all come on the screen and are dancing again. Big deal. OPTIONS:
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A: negative
Q: The title of this movie doesn't make a lot of sense, until you see it in operation, because it's the sound that a retarded young man makes while he's operating his imaginary trolley, which is what he does all day. And he is just one of many odd characters in this surreal & at times, tragic tale of a group of slum-dwellers in Japan.

There are two drunks who trade wives, there's a man with aspirations to be a architect, and his young son who he sends out to beg for food. There's a wise old man who seems to be the pillar of sanity within all that goes on around him, and there's a businessman with some severe nervous tics that has a wife that treats him (and everyone else) like dirt.

There's no particular plot to this, really, it's a bunch of stories that drift back & forth between each other, sometimes funny, sometimes tragic. All in all I thought it worked pretty well, & I had been dying to see this for a long time just based on its description. I was not in the least disappointed, and I'd definitely recommend this. 9 out of 10. OPTIONS:
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A: positive