FIASCO: A HISTORY OF HOLLYWOOD'S ICONIC FLOPS

FIASCO: A History of Hollywood's Iconic Flops. James Robert Parish. Wiley; 2006.

This fascinating book looks at the back stories of some of Hollywood's most infamous flops, movies which were not only artistic disasters but in general lost literally millions of dollars for their respective studios. The movies covered include Cleopatra with Liz Taylor and Richard Burton; Ishtar and Town and Country, both of which starred Warren Beatty; Kevin Costner's two mega-bombs, Waterworld and The Postman; Showgirls; Cutthroat Island; and others. Parish explains in engaging and authoritative fashion why some of these movies were disasters-in-the-making, with bad decisions made by ego-driven movie executives who wanted to be the instigator of the Next Big Blockbuster but wound up with egg on their faces, dismal reviews and returns, and careers in tatters. What's amazing is how the green light was often given to projects in spite of the fact that similar films were turkeys of major proportions. Given the out-of-control egomania of both stars, directors, and executives, the vast number of people who tinker with each screenplay, the very bad casting decisions, and the who-gives-a-shit-let's-just-spend-and-spend attitude, it's a wonder that anything decent ever gets made. Part of the problem is the unbelievable salary demands of today's movie stars, who jack up the budget of every film to incredible proportions, sometimes sinking a property right from the start.

Verdict: Compulsory reading for every film enthusiast who wants to know more about the inner workings of Hollywood. ****.

YOU'RE ONLY AS GOOD AS YOUR NEXT ONE Mike Medavoy

YOU'RE ONLY AS GOOD AS YOUR NEXT ONE: 100 Great films, 100 Good films, and 100 For Which I Should Be Shot. Mike Medavoy with Josh Young. Pocket Books/Simon and Schuster; 2002.

Once upon a time only major movie stars got to write books about themselves, but now anyone connected to the glamorous industry of Hollywood feels they have a book in them. One thing this book proves is that even comparatively dull behind-the-scenes types can be as self-absorbed as any movie star. Mike Medavoy started out as an agent, moved over to United Artists, became Executive VP in charge of production at Orion, then worked at Tristar, ultimately becoming a producer with -- and CEO of -- a smaller firm called Phoenix. Along the way he settles some scores and there are stories -- some good, some bad -- about Kevin Costner, Robert Redford, Rodney Dangerfield, Francis Ford Coppola and the making of such films as Apocalypse Now; Warren Beatty and Bugsy; Woody Allen and assorted movies. All the while Medavoy insists that he was less concerned with the bottom line than others in the business, and was chiefly concerned with making good pictures (many that he mentions really haven't held up all that well over the years). You're Only As Good still manages to make more interesting reading than you might imagine, mostly because "co-writer" Josh Young has done a smooth job of translating Medavoy's thoughts to paper. The most shocking thing about the book is that Medavoy includes a photo of his trophy wife but makes absolutely no mention of his son, Brian, who is also a producer.

Verdict: Okay for some behind-the-scenes details, but not essential reading. **1/2.

MR. BROOKS

Kevin Costner

MR. BROOKS (2007). Director/co-writer: Bruce A. Evans.

Earl Brooks (Kevin Costner) is Portland's Man of the Year, a respected family man and very successful businessman -- but he is also the serial killer known as the Thumbprint Killer, who shoots couples and arranges their bodies in "romantic" poses. He has an invisible alter ego named Marshall (William Hurt), who encourages him to commit murder even as Earl tries to stay on the straight and narrow. For the first time he makes a mistake by murdering a couple in front of a window, and a man calling himself Smith (Dane Cook) has taken photographs of the crime. But Smith doesn't want money -- he wants to go along on Brooks' next kill! Another complication for Earl is that there just may be another serial killer in his family, and there's a dogged lady detective (Demi Moore) on his trail. While Mr. Brooks has a few interesting twists, it isn't for a moment believable and there's not enough suspense to keep you on the edge of your seat. The performances are quite good -- Costner and Hurt are excellent, while Moore gives a showy if not entirely convincing portrayal of the cop -- and Marg Helgenberger and Danielle Panabaker are fine as Earl's wife and daughter, respectively; Cook also does well as the slimy, repulsive Smith. Morally ambiguous, to say the least. Despite the subject matter, there's very little gore in the film except for a climactic killing.

Verdict: Enough with the serial killers already! **1/2.

MESSAGE IN A BOTTLE

MESSAGE IN A BOTTLE (1999). Director: Luis Mandoki.

A reporter named Theresa (Robin Wright Penn) finds a note inside a bottle and determines to find out which man wrote this romantic missive to the woman he loved. It turns out to be fisherman Garret Blake (Kevin Costner), who penned the note to his dead wife. An awkward romance develops between the two while Garret's salty father, (Paul Newman) kibbitzes. Now and then Illeana Douglas, who also works at Theresa's office, pops her plug-ugly head in. They sure don't make romantic movies like they used to! Director Luis Mandoki moves things at a snail's pace, making the movie an effort to sit through. The acting is not bad at all, but it isn't enough to keep this from being a real snoozer.

Verdict: The kind of movie that gives "chick flick" a bad name. *1/2.