A great big rock hits the earth, and lots of people die. That’s pretty much all there is to it, and most of that was in the trailer. Can a major Hollywood movie really squeak by with such a slender excuse for a premise? The old disaster-movie king, cheese-meister Irwin Allen (The Poseidon Adventure, Earthquake), would have made a kitsch classic out of this, with Charlton Heston, rather than a resigned and mumbly Robert Duvall, as the veteran astronaut who risks several lives trying to blow up the comet that’s headed right this way! As stiffly directed by Mimi Leder, this thick slice of ham errs on the side of solemnity. It may the be most earnest end-of-the-world picture since Stanley Kramer’s atomic-doom drama On the Beach. There are a couple of classic melodramatic flourishes: an estranged father and daughter who share a tearful reconciliation as a Godzilla-sized tidal wave looms on the horizon; and an astronaut, communicating on video with his loved ones back on Earth, who follows whispered instructions from a buddy lurking just off camera–so that his little boy won’t realize that he’s been struck blind. With Morgan Freeman as the president of the United States. –David Chute
It may not be a disaster movie, per se, but this terminally silly thriller is certainly disastrous, and would be pointless without the novelty of its setting in a flooding Midwestern town during a torrential rainfall. Physically impressive but idiotic in every other respect, the movie pits an armored truck courier (Christian Slater) against a smart leader of thieves (Morgan Freeman) and a corruptible town sheriff (Randy Quaid) who are vying for possession of $3 million in cash. A waterlogged game of cat and mouse, the plot is so contrived that even the most impressive action sequences–such as a jet-ski chase through flooded high-school corridors–are robbed of their already tenuous credibility. Before long you’ll be yawning as incompetent accomplices are systematically dispatched by their own stupidity, in the kind of movie where the use of power boats inevitably leads to at least one death by outboard motor. What’s impressive here is the physical production itself–the effect of flooding was created by building a huge replica of downtown Huntington, Indiana, in a huge, watertight aircraft hangar in Palmdale, California! –Jeff Shannon
Coming after The Silence of the Lambs and Seven, this thriller about a collaboration between two serial killers feels like a pale attempt to cash in on the success of those earlier, better films. That’s a pity, because this film certainly has its strengths–particularly in the central performances of Morgan Freeman as a forensic detective and Ashley Judd as a would-be victim who escaped from one of the killers. Director Gary Fleder demonstrates visual flair and maintains an involving undercurrent of tension, but as this adaptation of James Patterson’s novel approaches its climax, familiar elements combine to form a chronic case of thriller déjà vu. It’s altogether competent filmmaking in the service of a moribund story of competing psychopaths, and by the time the serial killers reach the home stretch of their twisted contest, the movie’s dangerously close to Freddy Kruger territory, with a finale that could’ve been borrowed from any dozen similar thrillers. –Jeff Shannon
As Allied troops liberated Nazi concentration camps in the final weeks of World War II, the trials of the Jews in Europe were hardly over. The end of the war brought extreme deprivation and even, in some places, further violence directed against survivors of the Holocaust. This documentary tells the story of the struggle European Jews faced in trying to reach Palestine, which they hoped would become the new Jewish homeland. Archival footage documents how Jews literally walked across snow-clogged mountain passes to reach the Mediterranean. In Italian ports they boarded overcrowded freighters and tried to slip past the blockage of Palestine, which was then controlled by Britain. The physical hardships were only part of the problem, and The Long Way Home does a fine job of describing the complicated political dealings that involved the United Nations, the U.S. administration of Harry Truman, and, of course, the Arab states that were hostile to the very idea of the country of Israel. Drawing on letters, diaries, and oral histories of participants, as well as interviews with Holocaust survivors and those who volunteered to help the fledgling Zionist state, an inspiring human story of courage and fortitude emerges in the course of this moving and fascinating film. –Robert J. McNamara
Anyone want to venture a guess that Keanu Reeves was sorry he passed up Speed 2 to make this turkey? Both a ridiculous suspense piece about a renegade intelligence community and an ill-considered hunk of do-gooder agitprop about alternative energy technology, Chain Reaction makes Reeves and almost everyone else involved look about as dumb as dumb can be. Hollywood’s own Little Buddha plays a streetwise lab technician who survives an organized assault on his hydrogen-power project. The FBI assumes he’s really a spy working for some foreign power, but the truth is that a CIA offshoot is behind the project’s funding. Morgan Freeman plays the ramrod-straight company man who sabotages Keanu’s excellent experiment, and Rachel Weisz portrays a physicist who goes on the run with the alleged saboteur. Directed by Andrew Davis (The Fugitive), who seems more interested in seeing how many absurd places he can mount a chase scene than offering a solid clue as to who these characters are and why we should care about them. –Tom Keogh
The most viscerally frightening and disturbing homicidal maniac picture since The Silence of the Lambs, Seven is based on an idea that’s both gruesome and ingenious. A serial killer forces each of his victims to die by acting out one of the seven deadly sins. The murder scene is then artfully arranged into a grotesque tableau, a graphic illustration of each mortal vice. From the jittery opening credits to the horrifying (and seemingly inescapable) concluding twist, director David Fincher immerses us in a murky urban twilight where everything seems to be rotting, rusting, or molding; the air is cold and heavy with dread. Morgan Freeman and Brad Pitt are the detectives who skillfully track down the killer–all the while unaware that he has been closing in on them, as well. Gwyneth Paltrow and Kevin Spacey are also featured, but it is director Fincher and the ominous, overwhelmingly oppressive atmosphere of doom that he creates that are the real stars of the film. It’s a terrific date movie–for vampires. –Jim Emerson
When Warner Brothers was unable to secure the rights to Richard Preston’s terrifying nonfiction book The Hot Zone (purchased by a rival studio), they took the basic idea of a fatal virus on the loose in the U.S., added Dustin Hoffman and director Wolfgang Petersen (Das Boot), and produced an unusual thriller–a surprise hit–called Outbreak. The other picture, slated to star Robert Redford and Jodie Foster, fell through. The premise of Outbreak, which owes something to Elia Kazan’s 1950 plague-scare movie, Panic in the Streets, is as terrifying as it is timely. As developers slash their way deeper into the previously unexplored tropical rainforests, they are exposed to radically new forms of life, including diseases, that in these days of commonplace international travel could turn into deadly epidemics almost before we know it. Hoffman’s character and his estranged wife (Rene Russo) are disease experts called in to identify the unknown killer, which was carried into the country by an illegally smuggled monkey. The best sequence shows the disease spreading–through recycled air on a passenger jet, or a sneeze in a crowded movie theater. The final chase is pretty conventional, but the cast is terrific, including Morgan Freeman, Kevin Spacey, Donald Sutherland, Cuba Gooding Jr., J.T. Walsh, and Zakes Mokae. –Jim Emerson
When this popular prison drama was released in 1994, some critics complained that the movie was too long (142 minutes) to sustain its story. Those complaints miss the point, because the passage of time is crucial to this story about patience, the squeaky wheels of justice, and the growth of a life-long friendship. Only when the film reaches its final, emotionally satisfying scene do you fully understand why writer-director Frank Darabont (adapting a novella by Stephen King) allows the story to unfold at its necessary pace, and the effect is dramatically rewarding. Tim Robbins plays a banker named Andy who’s sent to Shawshank Prison on a murder charge, but as he gets to know a life-term prisoner named Red (Morgan Freeman), we realize there’s reason to believe the banker’s crime was justifiable. We also realize that Andy’s calm, quiet exterior hides a great reserve of patience and fortitude, and Red comes to admire this mild-mannered man who first struck him as weak and unfit for prison life. So it is that The Shawshank Redemption builds considerable impact as a prison drama that defies the conventions of the genre (violence, brutality, riots) to illustrate its theme of faith, friendship, and survival. Nominated for seven Academy Awards including Best Picture, Actor, and Screenplay, it’s a remarkable film that signaled the arrival of a promising new filmmaker–a film that many movie lovers count among their all-time favorites. –Jeff Shannon
Winner of the Academy Award for best picture of 1989, this gracefully moving drama, adapted from the hit play by Alfred Uhry, chronicles the 25-year friendship between a stubborn, aging Southern widow (Jessica Tandy) and her loyal chauffeur (Morgan Freeman). At first, the self-sufficient Miss Daisy is reluctant to accept the services of a chauffeur, but Hoke is quiet, wise, and tolerant, and as the years pass the unlikely friends develop a deep mutual respect and admiration. Tandy deservedly won the Oscar for her sassy and sensitive performance, and Freeman earned an Oscar nomination for bringing quiet depth and integrity to his memorable role. Ironically, director Bruce Beresford (Tender Mercies) was not nominated, but the film won Oscars for makeup and for Uhry’s screenplay, in addition to a supporting actor nomination for Dan Aykroyd as Daisy’s supportive son. Delicate, funny, and bittersweet, Driving Miss Daisy was a surprise hit when released, and marked the crowning achievement of Tandy’s great career. –Jeff Shannon
Rocky director John Avildsen championed the briefly famous New Jersey high school principal Joe Clark in this upbeat 1989 drama. Morgan Freeman plays the tough-love educator who wields a baseball bat and bullhorn to keep discipline in his hallways and to motivate underachieving students to keep their acts together. After establishing Clark’s controversial methods and showing him giving some punks the boot, Avildsen relies on the usual school-drama clichés to fill out the rest of the movie, including a challenge to Clark’s philosophy from timid authorities. Freeman makes a strong impact as Clark, his dignity and integrity a sometimes awesome thing. Avildsen, however, is going for a Rocky-esque emotional crescendo. –Tom Keogh