SONNY BOY Al Pacino

SONNY BOY: A Memoir. Al Pacino. Penguin; 2024.

In this very well-written (by whom it is not known) memoir, there is a constant shifting from the self-absorbed movie star to the ordinary guy who just wants to remember his roots and be loved. Pacino spends quite a few pages on his childhood in the Bronx, his divorced parents, grandparents, and both begins and ends with portraits of his young buddies, most of whom came to bad ends because of drugs. Pacino doesn't gloss over his own problems with alcohol and drugs nor does he deny occasionally foolish behavior. He is selective about the films he chooses to write about, as well as the colleagues, and no doubt some will be insulted that he doesn't mention certain individuals at all. He is generally kind when it comes to his various girlfriends, but all we learn about actress Beverly D'Angelo (of Hair), with whom he had twins, is her name (Pacino doesn't mention the bitter custody battle they engaged in either). Pacino gives credit to the people who helped him down through the years, including acting coach Charlie (not the famous Charles) Laughton and agent-producer Martin Bregman. Surprisingly Pacino reveals that he went "broke" due to the manipulations of a now-imprisoned accountant, and this is why he took roles in movies that he pretty much knew would be awful. (Righteous Kill anyone?) Along the way Pacino notes some of the films and performances, such as Ray Milland's in The Lost Weekend, that he admires. Whatever his flaws as both actor and man, Pacino is an immensely talented Artist, who kept going back to the theater, took chances on doing Shakespeare (with mixed results), and directed both documentaries and dramas (oddly, he barely mentions Chinese Coffee, in which he directed himself and Jerry Orbach). Pacino's oldest child, Julie, is now in her thirties, but Pacino doesn't tell us much about her. I guess a movie star is a movie star is a movie star -- this is about me, baby! -- regardless of their background. NOTE: For a look at Pacino's life and career, investigate Al Pacino: In Films and On Stage by yours truly. 

Verdict: Excellent, absorbing and very worthwhile autobiography. ***1/2. 

GOOD NEW MOVIE -- HOUSE OF GUCCI:

The cast of House of Gucci

HOUSE OF GUCCI (2021). Director: Ridley Scott.

Maurizio Gucci (Adam Driver) is smitten with the outgoing and ambitious Patrizia (Lady Gaga), and soon afterward they are married. Maurizio's father, Rodolfo (Jeremy Irons) isn't entirely taken with the union, but his brother, Aldo (Al Pacino) welcomes Patrizia and his nephew to New York. Then there's Aldo's son, Paolo (Jared Leto of Urban Legend), who is treated like a moron by his father, and who wants to design his own line. There are behind-the-scenes battles for control of the Gucci company, and then Maurizio has the temerity to have an affair and ask for a divorce. Patrizia is not going to take this lying down ... 

Lady Gaga was a determined Patrizia

House of Gucci is an entertaining and well-acted biopic and suspense story (even if you know the outcome) that holds the attention throughout its length. Lady Gaga is good, but I suspect there are other actresses who could have made more of the part. Driver and Leto (although he's initially over the top) are also quite good, but the pic is nearly stolen by a wonderful Pacino and especially Jeremy Irons as the father. If you're hoping to see some courtroom dynamics, be warned that the film ends rather abruptly with the arrest of certain parties -- you'll have to watch details of the murder trial on Dateline, which covered the story more than once.  

Verdict: Well, you may not rush out to buy a Gucci bag, but all the skullduggery in this is fascinating. ***1/4.  

CRUISING / INTERIOR: LEATHER BAR

Al boogies in  the gay bar 

CRUISING (1980). Director: William Friedkin.

INTERIOR: LEATHER BAR (2013). Director: James Franco; Travis Mathews.

Steve Burns (Al Pacino) is assigned to go undercover in the gay leather milieu to see if he can get leads on whoever is murdering the patrons of these bars. Burns feels uncomfortable in his assignment, but his superior (Paul Sorvino) talks him into continuing. Burns seems to have caught the killer when another murder occurs .... Modern-day viewers may wonder what the fuss was about when they look at this through 21st century eyes. But in 1980, decades before LBGT sections on Hulu and Netflix, there weren't that many films about the gay lifestyle, and it was enraging that the best that two major filmmakers (Pacino of The Godfather and Friedkin of The Exorcist)  could come up with was this mediocre slasher film that exploited the gay community, presenting one-dimensional characters to be slaughtered. Most of the film's opponents (which included this critic and activist) didn't object to the movie exploring the gay s & m scene (which was always more about role-playing than anything else) but to its complete failure in any way to positively illuminate that scene aside from sexual activity. While Cruising is well-produced, with a lot of atmosphere due to James Contner's cinematography, and Pacino's performance is okay, it is a much less effective* "slasher" film than, say, the original Friday the 13th,which came out the same year. (Friday the 13th was also much more influential, and while also excoriated by critics, made a lot more money than Cruising.)

Seen today, how is the movie? Well, it's still mediocre, not only due to its exploitation of gay men but to its penny dreadful script. Its use of multiple maniacs (which is apparent once you try to figure out who the killer is) only makes the pic much more confusing than it needs to be. Then there's that ridiculous early sequence where we see two men clad half in leather and half in drag -- like that ever happens (except maybe on Halloween)! At one point Burns expresses sympathy for a gay suspect beaten by police (in an utterly ludicrous sequence that was supposedly based on fact), which makes the implied ending more ridiculous. (This suggests that Burns murdered his friendly gay neighbor as the character did in the crappy source novel)  There's no point in trying to figure out who the different murderers are because it's clear that -- while Friedkin today tries to make it sound like he had some master plan all along -- the movie is simply badly structured and edited, a sloppy hack job in every sense of the word. Friedkin and company could have made a much more positive (and coherent and fascinating) film while remaining true to its thriller/slasher origins. 

One of the cast members of Interior: Leather Bar

And now we come to Interior: Leather Bar, a silly documentary made by actor James Franco and Travis Mathews. The idea was to recreate the supposedly lost forty minutes cut from Cruising that presented more raw footage from the backroom gay bar scenes. The reality is that only a few minutes have been recreated; most of the film is about actor Val Lauren's discomfort in being associated with the project. In some sequences he looks like he'd rather be anywhere else than in this movie. There's at least one gay sex scene, and James Franco admirably talks about why it's unfair that such scenes are often suppressed in major theatrical movies, which is not the case with straight sex scenes. The whole idea of this movie seems to be to get a group of both gay and straight actors in a room and have them interacting in a homoerotic manner, but I get the impression this is more about the filmmakers' fantasies than anything else. One can imagine this is one way the recognizable Franco can be in a gay bar without actually being in a gay bar!

[*Friday's shock/murder scenes are better handled, the film has more suspense, as much atmosphere, and its characters are no less dimensional than Cruising's. In addition, the movie's victims aren't members of a persecuted and marginalized community, unless you think camp counselors are a minority group.]

Verdict: Cruising: **1/2.
              Interior: Leather Bar *1/2.

MISCONDUCT

Josh Duhamel and Alice Eve

MISCONDUCT (2016). Director: Shintaro Shimosawa.

New Orleans lawyer Ben Cahill (Josh Duhamel), feeling neglected by his busy nurse wife, Charlotte (Alice Eve of She's Out of My League), makes a date with an ex-girlfriend named Emily (Malin Akerman). Emily is the lover of possessive pharmaceutical giant Arthur Denning (Anthony Hopkins), who fiddled with the lab results of his drug Vypraxilin to get around the FDA, resulting in hundreds of deaths. Emily gives Ben confidential information that can help his firm win a major lawsuit against Denning; Ben's boss, Charles Abrahms (Al Pacino), agrees to go along with it. But, of course, there are major complications as well, including murder, and a handsome, dying Asian-American hit man (Byung-hun Lee of G. I. Joe: Retaliation) who shows up now and then ... Misconduct is aptly named, although there are many who will argue that it is the filmmakers who are guilty of same. The movie isn't dull, and it has a few interesting plot twists, but it becomes increasingly ridiculous as it goes along, and the ending probably had most people in the audience going "what the f--k?" There are some mildly clever ideas in the screenplay, but they are not well-executed, and the movie throws so many disparate scenes at the viewer that most people watching the flick will only be irritated and confused. Even when the damn thing is over there are still loose ends. (For instance, did the hit man take Vypraxilin  himself?)  This is the "Al Pacino" movie that notoriously made only $150 in the UK, but both he and Hopkins have just supporting roles. [One would think they would have called this an "Anthony Hopkins" movie in England, but despite Silence of the Lambs, Hopkins was never quite as big a star as Pacino.] Pacino is in his southern jive talk mode, which doesn't really work for his character, and his accent, as usual, comes and goes. Hopkins makes a better impression as his opponent and easily steals the movie. Josh Duhamel is quite effective in the lead role, although he may be way too calm in certain sequences. Malin Akerman makes an impression as the provocative Emily, but Alice Eve's every line and look seems heavily coached by the director, and she is generally unconvincing. Julia Stiles [The Omen] is much better as a private eye hired by Denning when his girlfriend is allegedly kidnapped. The final twist in this was already used in a well-known novel/movie of a few years ago in which it was equally predictable.

NOTE: For more about Al Pacino and his films, good and bad, see Al Pacino: In Films and On Stage by yours truly.

Verdict: Coherency is not this film's strong point. Maybe if it were a French film with sub-titles? **.

AL PACINO IN FILM AND ON STAGE

AL PACINO IN FILMS AND ON STAGE is your humble blog-owner's new tome on Al Pacino. This book from McFarland has been greatly expanded, revised, and updated, with twenty more years of Pacino's life, loves, movies, directorial assignments, and stage appearances.

One of our most passionate and gifted actors, Al Pacino has been riveting audiences for decades with performances in everything from The Godfather to Angels in America to Danny Collins. He has also appeared on the stage, tackling such difficult roles as Richard III, King Herod and Shylock, along with parts in contemporary dramas like Glengarry Glen Ross. Pacino has also directed two documentaries and two feature films.

Aspects of Pacino’s private life and film choices can be controversial. Often accused of a lack of subtlety or of “chewing the scenery,” his mesmeric intensity galvanizes fans and divides critics, as do his Shakespearean interpretations. In its second edition, this book critically reevaluates his many onscreen and onstage roles. Pacino is an actor who cannot be ignored.

Verdict: If you like Pacino, Buy this book!

ANY GIVEN SUNDAY

ANY GIVEN SUNDAY (1999). Director: Oliver Stone.

This is the old chestnut in which an aging man, in this case a football player (Dennis Quaid), has to deal with the intrusion of a brash young newcomer (Jamie Foxx), both of whom interact with the coach, Tony (Al Pacino), who has to argue with the owner (Cameron Diaz) about whom to use for The Big Game. Any Given Sunday is well-done for what it is, all decked out in modern ambiance, but it's incredibly old-fashioned [and just plain creaky] at its heart. There is a very large cast in the movie -- everyone from James Woods to Ann-Margret [Bye Bye Birdie] -- but the movie is consistently stolen by a charismatic Pacino. Quaid [Legion], Diaz [The Box], and especially Foxx are also excellent, however. The frenetic editing of the movie keeps things moving briskly during its nearly three hour running time but it's the sort of thing you forget even as the closing credits are rolling.

Verdict: Even football fans may find this old hat if somewhat entertaining. **1/2.

TWO BITS

Al Pacino as Grandpa

TWO BITS (1995). Director: James Foley.

In 1933 Philadelphia young Genarro (Jerry Barone) hopes to get a quarter so he can go to the opening of the new movie house. While he plots and pleads for the two bits, Grandpa (Al Pacino) and his widowed daughter Luisa (Mary Elizabeth Mastrantonio) deal with his health issues. Then there's the strange doctor Bruna (Andy Romano) and his even stranger wife (Donna Mitchell), with whom Genarro has unpleasant encounters. Grandpa asks his grandson to do him a slight favor, and promises him the quarter if he does it, but will the poor kid ever make it to the movies? Screenwriter Joseph Psycho Stefano based the story on childhood reminiscences, but it's all rather slight, with too many sequences that don't ring true. A much too young and vital Pacino [The Humbling] is miscast as Grandpa. Barone is excellent as young Genarro.

Verdict: A nice attempt at something different, but ultimately a failure. **.

THE HUMBLING

Greta Gerwig and Al Pacino

THE HUMBLING (2014). Director: Barry Levinson.

Simon Axler (Al Pacino) is an actor who suffers a nervous breakdown, leaves the institution where he was ensconced, and returns home to find himself playing host to the daughter of some family friends. Pegeen (Greta Gerwig) has always had a crush on Simon, or so she says, and the two embark upon an affair, which is not only complicated by the age difference but by Pegeen's decided preference for females. Right off the bat let me say that Pacino gives a terrific performance, Oscar-worthy in fact, but The Humbling, although never tedious, is not a very good picture. Based on a novel by Philip Roth, its attitude towards LGBT characters, including Pegeen and others, is dated at the least and insensitive at the worst. [The notion that she dresses in a more feminine manner as she moves from women to a man is as offensive as it is ludicrous, and her sexuality is never really dealt with in any honest fashion, although it's clear she's upset that her female lover had a sex change.] Gerwig, Charles Grodin (Simon's agent), Dianne Wiest (Pegeen's mother), Dylan Baker (Simon's shrink), Billy Porter (a transgender man who was once Pegeen's female lover), and Kyra Sedgwick (another patient who wants Simon to kill her husband) are all excellent, and there are some good scenes and amusing moments, but this should have been so much more than a "hot lesbian" dirty joke; it never quite gets past that foolish notion [despite the fact it may only be meant to illustrate the insanity of Simon's life]. With a writer, director, and star all over seventy, one might not expect modern-day attitudes, but being old is no excuse for being old-fashioned. As with Scent of a Woman, Pacino sometimes does superlative work in movies that aren't worth his attention, although one can understand why he took this great part. This is another Pacino movie, after Gigli, where a woman who is basically a lesbian sleeps with a man for no good reason except perhaps to titillate some "Old Straight Guys" who love the notion of deflowering or "turning" a lesbian. Well, at least this isn't Cruising!

NOTE: The studio obviously had little faith in the film. It was on DVD within what seemed like two weeks and was streaming on Amazon the same weekend it opened in theaters!

Verdict: Some old men really are old poops -- but Pacino is outstanding. **1/2.

RIGHTEOUS KILL

De Niro and Pacino

RIGHTEOUS KILL (2008). Director: Jon Avnet.

Homicide detectives Turk (Robert De Niro) and Rooster (Al Pacino) try to discover whoever it is who is murdering sociopaths and low lives. One of the detectives narrates the story in flashback, sort of stripping the film of suspense -- the twist at the end comes a little too late. It's a great idea to combine Al Pacino and Robert De Niro [Raging Bull] in the same movie, as they were in the excellent Heat, but someone should have come up with a workable script. Righteous Kill is far-fetched and may have the members of the audience scratching their heads at the ending. John Leguizamo and Donnie Wahlberg are wasted as younger smart-alec detectives, Brian Dennehy [The Challenger Disaster] has some good moments as the cop boss, and Carla Gugino has a thankless role as a fellow detective who is also sleeping with Turk. Avet also directed 88 Minutes, which is better than this.

Verdict: Poor suspense film. **.

PHIL SPECTOR

Helen Mirren and Al Pacino with Major Hair

PHIL SPECTOR (2013 telefilm). Writer/director: David Mamet.

Record producer Phil Spector (Al Pacino) invites young actress Lana Clarkson (Meghan Marx) to his home and she winds up being shot to death in his study. Arrested for murder, Spector first hires lawyer Bruce Cutler (Jeffrey Tambor) and then importunes an at-first disinterested Linda Kenney Baden (Helen Mirren) to represent him in court. Baden tries to prove his innocence by suggesting Clarkson somehow committed suicide. Playwright Mamet has put together a teleplay that is only suggested by real-life events -- or at least he "suggests" same -- but the basic facts are in the movie even if slanted. Tambor and Mirren [Hitchcock] are excellent and Pacino makes a weird if compelling Phil Spector, decked out in a hairdo that he considered an homage to Jimi Hendrix. Spector's wife Rochelle is not depicted, and the victim, Lana Clarkson, gets very short shrift. Ultimately the whole project is cynical and superficial, bolstered only by some good performances.

Verdict: Holds the attention but not much else. **1/2.

OCEAN'S THIRTEEN

OCEAN'S THIRTEEN (2007). Director: Steven Soderbergh.

When Reuben Tishkoff (Elliott Gould) winds up in the hospital because he gets screwed over by hotel man Willy Bank (Al Pacino), his friends gather together to enact one more con. The idea is to deprive Bank of a coveted award by giving the reviewer (David Paymer) a miserable vacation -- and ruining Bank's opening night -- while rival hotelier Terry Benedict (Andy Garcia) agrees to help with their plan if they steal some of Bank's coveted diamonds for them. Ocean's Thirteen is leisurely but entertaining, with the best acting from Paymer, Garcia [Twisted], Gould, Pacino and Carl Reiner, not to mention Don Cheadle and especially Ellen Barkin [Adventures of Buckeroo Banzai Across the 8th Dimension] in an excellent turn as Bank's security gal, Abigail. George Clooney and Brad Pitt sort of saunter dully through this affair without raising a sweat, while Matt Damon is somewhat more interesting. Soderbergh also directed Behind the Candelabra and the inferior Ocean's Twelve.

Verdict: Amiable nonsense. ***.

THE LOCAL STIGMATIC

Al Pacino and Paul Guilfoyle

THE LOCAL STIGMATIC  (1990). Director: David F. Wheeler.

Cockney roommates Graham (Al Pacino) and Ray (Paul Guilfoyle) are two borderline sociopaths obsessed with dog races and celebrities. One afternoon the two men go to a pub and encounter actor David (Joseph Maher), whom they are jealous of and whom they brutalize. There isn't much else to The Local Stigmatic, which is based on a short play by Heathcote Williams in which Al Pacino appeared in the sixties. While the characters are unmemorable and one-dimensional, the acting can't be faulted, with both gentlemen giving very good performances; Pacino is especially good as a coolly sinister borderline sociopath, even if his accent was criticized. The Local Sigmatic, less than an hour long, was never officially released but was seen in private screenings before being issued on DVD. Guilfoyle (not to be confused with the unrelated older character actor and director of such films as A Life at Stake) has also been a very, very busy actor throughout his career.

Verdict: A mesmerizing Pacino if nothing else. **1/2.

GIGLI

Jennifer Lopez and Ben Affleck

GIGLI (2003). Writer/director: Martin Brest.

A "cute" (that is "nice") hit man named Larry Gigli (Ben Affleck of Hollywoodland), and a pretty -- and nice -- hit woman named Ricki (Jennifer Lopez of Monster-in-Law) team up to kidnap and possibly murder a mentally-disabled youth named Brian (Justin Bartha). And this is an (alleged) comedy? Perhaps in a very wild farce with extremely gifted farceurs this may have worked, but Gigli deserves its reputation as one of the worst movies ever made -- what on earth was Brest thinking (no wonder he hasn't worked since)? Let me make it clear that Gigli wasn't just excoriated because of over-exposure to "Bennifer" -- Lopez and Affleck were lovers at the time -- but because it was a tedious and dreadful picture. To make matters worse -- if that's possible -- there is even some homophobic nonsense with Ricki, a committed lesbian, having sex with Larry simply because the real-life couple had to sleep together in the movie! Al Pacino [88 Minutes] is the best thing in the picture as a maniacal mob boss, but there isn't enough of him to save the movie.

Verdict: If only this had been about Beniamino Gigli, the opera singer. This is beyond abysmal. 1/2 star for Pacino.

CITY HALL

CITY HALL (1996). Director: Harold Becker.

When a cop and a lowlife kill each other in a shoot-out, a little boy is caught in the crossfire. Deputy Mayor Kevin Calhoun (John Cusack of Shadows and Fog) tries to find out why the lowlife, Tino Zapatti (Larry Romano), was out on the street when he should have been in jail. His uncle Paul (Anthony Franciosa of Wild is the Wind) is a big shot mobster, and friends with Brooklyn politico Frank Anselmo (Danny Aiello), whom he orders to frame the dead cop. Calhoun's investigation uncovers corruption that goes all the way up to a judge (Martin Landau of Mission: Impossible), who just happens to be a good friend of Mayor Pappas (Al Pacino), whom Calhoun idolizes. Now Calhoun has to figure out if the mayor is involved and how he will handle it if he is. City Hall has a workable premise, and the acting is fine, but Harold Becker's direction isn't exactly dynamic, and the movie just fails to grip the way it should. Bridget Fonda plays a lawyer who tries to help the cop's family and is fine, but the movie is practically stolen by Aiello as Anselmo.

Verdict: Tepid when it should sizzle. **1/2.

88 MINUTES

88 MINUTES (2007). Director: Jon Avnet.

The testimony of FBI psychologist Jack Gramm (Al Pacino of The Recruit) helped put away a fiendish killer, Jon Forster (Neal McDonough), who is about to be executed. Gramm then gets a call in which an unknown person tells him he only has 88 minutes to live, a number that has special significance to him. Gramm figures Forster is behind it all, but who is his ally outside of prison? One of Gramm's students? His teaching assistant, Kim (Alicia Witt of Urban Legend)? Her motorcycle-riding boyfriend? His secretary, Shelley (Amy Brenneman)? The movie, with its hints of dark deeds in the past, numerous twists and red herrings, reminds one of  a giallo film by Italian director Dario Argento, but without the cinematic flourishes or sick violence. The performances are good, and the slick movie moves fast enough to keep you from dissecting what's going on too carefully. Whatever its flaws, 88 Minutes is quite entertaining.

Verdict: Pacino treading water. ***.

THE RECRUIT

Al Pacino

THE RECRUIT (2003). Director: Roger Donaldson.

Computer genius James Clayton (Colin Farrell of Fright Night), whose father died under mysterious circumstances years before, is recruited by instructor Walter Burke (Al Pacino of Jack and Jill), for the CIA. Clayton joins a group of young hopefuls at the Farm in Langley for training, but seems to strike out after an especially rough exercise in which he thinks he has actually been kidnapped by enemy agents. But Burke tells Clayton that far from being axed  he has been chosen for a covert assignment involving supposed double agent Layla Moore (Bridget Moynahan), another member of the class, whom he is told is trying to steal a CIA-engineered computer virus right out of HQ. But as Clayton gets closer to the woman in order to learn her secrets, will this all turn out to be yet another elaborate game -- or something much more sinister? The Recruit is a mild if entertaining entry in the paranoia sweepstakes, with the leads, including lovely Moynahan, giving good performances. Pacino seems practically like a supporting player in Farrell's movie until the picture's climax in which he has a chance to shine.

Verdict: A paycheck for Pacino. **1/2.

THE DEVIL'S ADVOCATE

Al Pacino

THE DEVIL'S ADVOCATE (1997). Director: Taylor Hackford.

Coming to realize that his accused pedophile client is guilty, Kevin Lomax (Keanu Reeves) proceeds with his defense [as if he had any other choice] and wins him an acquittal. This brings him to the attention of a certain New York City law firm that is less concerned with ethics than it is with winning. Kevin accepts a large fee to participate in a jury selection, then is offered a position with the firm with lots of perks, including a fabulous Manhattan apartment and a huge salary. But his wife, Mary Ann (Charlize Theron of Prometheus), is soon feeling neglected as he spends all of his time preparing for a case, and she is having very disturbing hallucinations as well. Even Kevin wonders if there's something -- strange -- about his boss, the charismatic John Milton (Al Pacino of The Son of No One), who figures in one of Mary Ann's more unpleasant nightmares. As more and more disturbing evidence piles up, will Kevin look the other way, or face the consequences of dealing with the devil... ? The Devil's Advocate is an entertaining and well-acted horror film that is perhaps at times too influenced by films that came before, but it has its moments, even if it's ultimately a kind of silly picture. It might have been better or at least just as interesting without the supernatural overtones.

Verdict: Pacino is always fun to watch. **1/2.

THE SON OF NO ONE

Channing Tatum and Ray Liotta

THE SON OF NO ONE (2011). Written and directed by Dito Montiel.

Young cop Jonathan White (Channing Tatum) was "involved" in two murders in the projects when he was a boy, and now his past has come back to haunt him. A newspaper reporter (Juliette Binoche) is getting notes from someone claiming that these two deaths were covered up and a cop is going to be in trouble. White tries to find out who is sending these letters, but his childhood buddy Vinnie (Tracy Morgan), who knows the truth, assures him that he's told no one. Then the reporter is murdered not long after White goes to talk to her ... This could have made an interesting thriller, but Montiel's meandering approach and mediocre script -- not to mention all the switching back and forth from 1986 to 2002 -- only add up to tedium. Ray Liotta and Al Pacino are wasted in the smaller roles of cops, while Tatum's performance, even when you consider his character is suppressing emotion, is at times borderline zombie; he seems clueless as to how to play the character. Even the most humble "B" movie from the forties is put together with more smooth finesse than this. Tatum was also in G.I. Joe: The Rise of Cobra. Pacino had a supporting role as himself in Jack and Jill the same year.

Verdict: A poor excuse for a suspense film. *1/2.

JACK AND JILL

Al Pacino and Adam Sandler

JACK AND JILL (2011). Director: Dennis Dugan.

Jack Sadelstein (Adam Sandler), an advertising man in LA, has one month to sign Al Pacino [Glengarry Glen Ross] to a contract for a new coffee product. Things seem hopeless until Pacino (played by himself) meets Jack's twin sister, Jill (played by Sandler in drag) and finds her, um, appetizing. Can Jack get Jill to go home with Al, or he will have to dress up in her clothes and go on the date himself? Guess... Although this was skewered by most critics, it's one of the more palatable Adam Sandler comedies, with some genuinely funny moments to go with the low-class flatulence jokes, of which there are too many. Sandler isn't bad in both roles, especially as the good-hearted but gauche and declasse, fairly obnoxious Jill, who drives her brother crazy, but the movie is stolen by Pacino, who gives a fine comedic performance spoofing his image and seems to be having a ball.

Verdict: An Adam Sandler movie you may actually sit all the way through thanks to Al, but beware. ***.

THE FREIDKIN CONNECTION A Memoir by William Friedkin

THE FRIEDKIN CONNECTION A Memoir. William Friedkin. HarperCollins; 2013.


Back in the seventies William Friedkin was the well-known bankable director of such highly successful films as The Exorcist and The French Connection. Friedkin admits that he let it all go to his head, made many wrong choices, and often treated people terribly. “When you are immune to the feelings of others,” he asks right at the start, “ can you be a good father, a good husband, a good friend?” Well, why would anyone want to spend a couple of hours reading the memoirs of an admitted self-absorbed jerk who isn't exactly one of the Giants of Cinema despite a couple of well-known movies? Well, there are several reasons. This is a must read for aspiring directors who need to know just how Hollywood works and the business of filmmaking and how it often interferes with the art of cinema. Friedkin lived through it all, and has plenty of info and anecdotes to deliver to those seeking a career in this wonderful and crazy profession. Other readers will appreciate the inside look at Hollywood and the behind-the scenes struggles of making a couple of famous movies, whether or not they are among their personal favorites. You are taken inside the mind of a typical director, understanding his struggles and attitudes, how he agonizes over casting choices, picking just the right cinematographer, and a dozen other things that can severely affect how a movie will work out and how it will be received by critics and public. Friedkin never thought Gene Hackman was really delivering for him while filming The French Connection and relates how the actor just didn't like and couldn't relate to his character. You'll learn how a bit actor in The Exorcist became a murderer whose horrible exploits inspired, in part, Freidkin's excoriated film with Pacino [with whom he did not relate at all], Cruising. [He also directed The Boys in the Band.] Later on Friedkin became a director of operas, despite the fact he had never been to the opera! Friedkin mostly stays away from his personal life, which probably wouldn't interest most readers anyway, but is honest about his reduced standing in the industry and the affect in status of simply growing older. This is well-written and very entertaining.

Verdict: A good bet for film enthusiasts and a must-read for aspiring directors. ***1/2.