The Goods: Live Hard, Sell Hard

This is the funniest used car sales comedy ever. Period. This might not be saying much, but this all star cast is perfectly assembled to complement each other and the gut busting laughs come whizzing by at a mile a minute.

the story focuses on a used car lot in Temecula that is struggling. The owner, in dire financial straits decides to bring in a group of professional "mercenary" salesmen and woman led by Don "the Goods" Ready.

The car sales angle is the perfect backdrop for an endless barrage of jokes and more subtle humor, and the characters' personalities are almost farcical in their delivery. Reminiscent in some ways of Anchorman, it is from the same production group - the anti-Apatow (although he did have his hands in Anchorman) crew that in many ways surpasses his regular group's humor by dumbing it down and throwing everything at you at once from all sides. Adam McKay, and Will Ferrell are two of the masterminds behind this little bit of comic brilliance, and Jeremy Piven heads a cast that I could rave about for days.

This film marks the coming out performance for Kathryn Hahn who is the female salesperson whose witty banter with the salesmen and customers and attempted seduction of a 10 year old boy (it's not as bad as it sounds) is comedy gold. Equally great is James Brolin who takes a chance as the owner who has a hidden agenda that inspires at the very least a smile just about every time he is on screen. Then there is David Koechner. Working tirelessly since starting his career in TV and film in 1995, he's been in nearly 100 shows or films since then. His breakout role came in Anchorman, and as a staple of the McKay/Ferrell team now, his role as the slick finance specialist is exceptional.

I have to say I was pleasantly surprised overall with the quality of this film, but there was one thing that detracted from the non-stop laugh-fest. Jeremy Piven is a funny man. Although possibly arrogant and egotistical in real life, his Ari Gold character on Entourage is one for the ages, and his supporting roles have always been energetic and have added substance to the films he has appeared in. However, as the star of this movie, I found myself getting tired of him. He should stick to the supporting roles, he just isn't leading man material. You can't blame him for taking the payday, and he chose a great film to headline, but it just didn't seem right.

The writing was outstanding. Reminiscent of the Zucker or Farrelly movies of years past (whatever happened to the Farrelly brothers?) where the dialogue had layers of humor that just never stopped. There were some lines that were placed so intentionally that it is almost comic science at its best.

I would go as far as to say that this film rivals the Hangover for most fun so far this year. Of course, I have a soft spot for dirty humor. 8/10.

Part Three - Robert De Niro

Part III - Robert De Niro

Bobby D. is as recognizable a name in acting as any that there has ever been. The early muse of Martin Scorsese long before Leo DiCaprio was discovered, De Niro shared a New York upbringing in Manhattan just blocks from the famous director. Although never acquainted until 1972, they met at a party shortly before filming Mean Streets, recognizing each other from the old neighborhood, and the rest is history. Interesting fact: Scorsese wanted to cast De Niro in Nicholson's role in the Departed in 2006 (www.imdb.com). Imagine what that would have been like.

Known for his extensive body of work playing tough guys, cops and borderline psychotics, he established himself as a credible actor in the early 1970's with his versatility, unique manner of speaking and brilliantly natural sense of timing; both physically and verbally. He is recognized by virtually every critical publication and cinemaphile as one of the top 5 actors of all-time. Here are his 5 greatest performances.

Godfather II (1974)

De Niro played the young Vito Corleone character, originally played by Marlon Brando. For the role, he perfected his Sicilian accent and gave audiences their first glimpse of the star that he really was. His role in 1972's Mean Streets was well done, but was really more of a warm up for a career of superstardom.

De Niro's Corleone had glimpses of Brando's attitude and raspy voice, and the sequence of events leading to the rise of the Godfather was done in convincing fashion. He clearly articulates the transition from Italian refugee arriving at Ellis Island without a family or friend to a fearless street hustler who eventually heads a mob family.

His first collaboration with Al Pacino kept the two of them separated, as they played similarly aged father and son in flashback form. However, there is a distinguishable difference in their Italian styles, even at a relatively young age. Pacino relished his role as Michael Corleone, playing the cool emotionless prodigy. De Niro on the other hand is scrappy and exciting as the young Vito, delivering an uncertainty and tension despite knowing the outcome. He shows the world how to build an empire through action, and not just talk. It was truly a great coming of age film for him.

Taxi Driver (1976)

His second of 7 collaborations with Scorsese, the film garnered rave reviews from the onset and ended up with 4 Oscar nominations. Some defiled it for its ultra violence and ambiguous ending, while others respected the message that it delivered and the performances, including a startling introduction to a precocious 14 year old Jodie Foster. Audiences and critics were polarized, but whether they loved or hated it, they respected its artistic vision as it ushered in a new generation of psychologically riveting film.

De Niro uttered one of the phrases most commonly associated with his vast body of work, and it turns out that it was completely improvised (although possibly inspired by Bruce Springsteen). Staring in the mirror, fantasizing about a tough guy persona and simply asking "You talkin' to me?" De Niro transformed into the disturbed and jaded Vietnam vet, Travis Bickle and shows his method acting as he slowly loses his grip on his sanity. His performance inspired John Hinkley Jr. to attempt an assassination on Ronald Reagan, and there have been talks of a sequel as recently as 2005. The performance is like a train wreck - it is harrowing and frightening, but you just can't look away.

Deer Hunter (1978)

Understated epic that delves into the effects of the Vietnam war on 3 friends from a small town in Pennsylvania. De Niro is the glue that holds the friends together, and even saves them from certain death in Vietnam. This role is a bit of a departure from De Niro's typical performances - it shows more emotional range as opposed to physical and verbal, and puts him up against Meryl Streep, whom he has said is his favorite actress to work with.

The most memorable scene, with heart-stopping and breath-holding tension ended up winning Christopher Walken his lone Oscar; the three friends are together in a Vietnamese prison camp and are forced to play Russian Roulette against each other. It is one of the most intense scenes in film history, and De Niro was an integral part of it.

Although the film ends without much positive resolution, instead it conveys Michael Cimino's portrayal of how the war changes people, and ultimately alters life for everyone who lived through it. The parallels of the characters hunting deer in the remote woods near their homes, and going off to war together are stark and stirring. Deer Hunter marks the third Oscar nomination for De Niro in a five year span.

Raging Bull (1980)

De Niro's second Oscar win was playing real life boxer Jake LaMotta. He gained a staggering 60 pounds for the role, which at the time was the most an actor had ever gained for a film. Raging Bull is the apex of De Niro's distinguished career. Not so much that it has been downhill since then, but because the years 1974 - 1980 was a window in which he accomplished what few other actors ever have.

The film was shot in black and white to give a feeling of the times, and due to his attention to his craft, De Niro became Jake LaMotta in every way imaginable. He took a believable turn as a fit boxer, displaying the attitude and demeanor of a working class man in 1940's New York. The tragic downward spiral of lost fame mixed with a fighter's uncontrollable violent tendencies and paranoia tears his family apart and sabotages his attempts at ending a great career as a champ.

Capitalizing on the success of Rocky a few years prior, Raging Bull is a more introspective look at the sport. The familial interactions, and the disappointment shared by everyone involved when a fighter is experiencing his lows casts a dark shadow all around. It is De Niro however, who seems oblivious to the physical impact of his fights, and is consumed with his pride and his jealousy. It's perhaps the most critically acclaimed performance of his career, and deservedly so.

Cape Fear (1991)

One of the more frightening characters in film history, Max Cady is a convicted rapist, fresh out of prison and out for revenge against the family of the defense attorney who failed him. It's a cautionary tale for defense attorneys everywhere, and De Niro's Cady is both unpredictable and sadistic. The film itself is not so much well done, as it is yet another Scorsese collaboration, but it is intended more for the character study and the shock value of the fear he evokes. It is a remake of a 1962 original in which Robert Mitchum plays Max Cady. The newer version maintains many of the elements shown in the original story, but it is De Niro who blows it out of the water.

He received his sixth and final Oscar nomination for his work in Cape Fear, and solidified a stellar career, although he has been working since, most notably in 1995's Heat, and the Meet the Parents films (2000, 2004). Although he is now in his late 60's, he is still considered one of the most versatile and stalwart figures in the industry.

Robert De Niro achieved 2 Oscars in 6 nominations from 1975 - 1992. He also won 1 Golden Globe in 8 nominations between 1977 and 2001.

Part Two - Al Pacino

Part II - Al Pacino

Al has an impressive body of work, but is a little less flexible as an actor as evidenced by his choice of roles. In his 45 film roles, he has played a cop or a crook in almost all of them. Kudos to him for stretching into other genres over the past decade or so, although at nearly 70, he is not as convincing now as the tough guy cop or the enraged mobster. Having always had the look of a true Italian, and the distinctive voice that has only gotten more discernable with age, he was a natural for many of his early roles.

He struck gold in his 3rd film role being cast as Michael Corleone, and the rest is history. In fact, between the years of 1972 and 1975, he had perhaps the most brilliant 4 year run in all of cinematic history. Starring in the first 2 Godfather roles, Serpico, and Dog Day Afternoon. For my money, he peaked in the 1970's and has grown to a mainstream household name, but has made poor film choices that mostly fall into his stereotypical category. He has done 14 films since his last respectable outing in 1997 when he played Lucifer in the Devil's Advocate, but gained some critical acclaim and awards for his part in the HBO mini-series Angels in America.

Unfortunately, I am not confident that we will ever see the Al Pacino of the 70's, although there was a glimmer in 1995's Heat. His star is fading now, but he will forever be in the pantheon of greatest American actors of all time. Here is a look at his 5 finest roles .

Godfather (1972)

Pacino's breakout role as the prodigal son, Michael Corleone resulted in the first of many Oscar nominations for the Italian thespian. What distinguishes the performance in Godfather I from that of Godfather II is that in creating the original character, there is a much greater risk being taken that was clearly accepted by the audiences and the critics. Reprising a role that is beloved is not as much of a stretch or a challenge, and Pacino must have felt right at home being the Italian New Yorker growing up in the 40's. Interestingly, he beat out a slew of great actors for the part; Redford, Nicholson, Beatty, DeNiro, and Ryan O'Neil (www.imdb.com).

What is perhaps the defining moment of the film is when Michael decides to shed his war hero/college boy life and become a part of the "family". He walks into a restaurant bent on killing both a police captain and a rival mobster, and the tension is palpable. With the gun in his pocket, he sits down at the table and there is a moment - perhaps 15 seconds or less when there is a look of nervous anticipation in his eyes and a subtle lip quiver. It is one of the most intentionally prolonged and riveting scenes in the genre. That single scene truly defines his method acting ability to the fullest.

Serpico (1973)

Frank Serpico. An honest and ethical man living within a world of corruption and tyranny. Based on the true story of a whistleblower within the NYPD amidst one of the most rampant times of criminal conspiracy in American history, Serpico is a beacon of hope and good in a society that batters his resolve. As an undercover cop, busting criminals is difficult enough, but once he alienates his colleagues by not taking dirty money, there is a sense of futility as he doesn't know who he can trust.

Pacino sheds his clean good looks for this role as a long haired and bearded hippie who looks the part as an undercover cop (but in a good way). What makes the role convincing is the sense of loneliness and abandon that he is fighting. What clearly is morally and ethically right is both dangerous and even discouraged within his fraternity of lawmen. He faces his fate knowing well that each day might be his last, and does so with both a sense of purpose and fear. Serpico is a sad commentary on the reality of law enforcement.

Dog Day Afternoon (1975)

An everyman who is overwhelmed by the stress of life in New York devises a simple plan that ends tragically, far differently than anticipated. Pacino is the Yin to John Cazale's Yang. The two of them perfectly complement each other as the two bank robbers who are caught in a hostage standoff. Pacino is the brains and Cazale is the brawn. Pacino is the loud, boisterous one and Cazale is the silent, terrifying one.

Directed by Lumet, there is not a lot of action, the events are more a reflection of a long day with all options leading to an inevitable climax. The tension builds through dialogue and waiting. The sweltering heat almost absorbs the viewer in exhaustion. But through it all, Pacino is the focus of attention and concern.

What he manages to do without even trying is build a rallying cry of compassion. Somehow gaining the public's support with shouts of "Attica" there is a feeling of chaos and uncertainty that the police are forced to deal with. However, there is never any doubt who is in control.

This is also one of the first times that the idea of transgendered homosexuality is brought into a mainstream film. It is not exposed until about halfway through, but Pacino's motive for the bank robbery is for a sex change operation for his gay lover. Pacino somehow downplays this fact skillfully and doesn't succumb to stereotypes. He never deviates from his character, and his performance is truly a memorable one.

Scarface (1983)

One of my favorite performances, the iconic Tony Montana, Cuban refugee who builds an empire in Miami through ruthless hard work and a fearless attitude. "The World is Yours" is his mantra, and he goes after everything that he wants one way or another.

Although this is arguably Brian DePalma's greatest achievement, it was created during a time when film was in a sort of limbo - the 1980's produced very few films of value to society, which was an indicator of both taste and culture. Scarface, if watched now, 25 years later, displays the signs of the times, and is a very dated film. Pacino however, displays the energy and drive of a consummate professional. Even being cast against his ethnicity - an Italian playing a Cuban, he pulls off the accent and the attitude flawlessly.

More than anything, this is a fun movie where the unscrupulous bad guy gets everything he wants, and lives a life of murder, drugs, sex and excess. If you live by the sword, you die by the sword, and Montana gets his comeuppance in a final shootout worthy of Sam Peckinpaw fame. "Say hello to my little friend" is a line that everybody who knows film can appreciate. Al Pacino as Tony Montana is the fury and emotion let loose in as fun a character as has ever been seen on the silver screen. He is the American dream on steroids.

Scent of a Woman (1992)

Retired army Colonel Frank Slade shows his young friend and escort Charlie the finer things in life in this eye-opening expression of friendship and passion. Slade is blind, but clearly sees what is important in life and senses the ability to help Charlie grow into the man who he shows potential to become.

What makes this performance different from the rest is that this is one of Pacino's transition films from young leading man to older, wiser middle-aged man. He always had (and still does) a youthful look, but most of his roles have been cop, criminal or something active along those lines. Playing a blind man shows the more vulnerable and fragile side of Pacino, which he has not since shown, slipping back into his cop and criminal roles.

Earning his only Oscar for this performance, I had considered leaving it off this list in deference to the Devil's Advocate, which was a sharp and snarky indulgence in which he played the Devil in the form of a lawyer. However, because Scent of a Woman was something different, much less Pacino's typical fare, it belongs as one of his greatest performances. Playing a blind man (without sunglasses) is a separate feat in itself, but Pacino played it believably and without a hitch. The film itself was a little melodramatic, but there was snappy and meaningful dialogue which kept it afloat.

Between 1973 and 1993, Al has been nominated for 8 Oscars, winning 1. He has been also been nominated for a staggering 14 Golden Globes between 1973 and 2004, taking home 4 wins including 1 lifetime achievement award.

GI Joe: The Rise of Cobra

I have waited for over 20 years for this live action adaptation to come to the big screen. 20 years of wondering if it would ever happen, and more importantly - how it would look - the creative liberties, the commercial sellout, the need to appeal to kids as well as 30 somethings like myself. How could this film possible be made without the goofy and eccentric characters looking like they stepped out of a 1980's cartoon? The answer is finally in theatres, and I have to say, I was pleasantly surprised.

Fanboy excitement has been constantly battling my more rational side ever since I heard that this film was going to be a reality. I followed the rumors and news updates from day one and was expecting a mindless action film attempting to break box office records. After all, this is Steven Sommers directing, and he has done little more than special effects action vomit with the Mummy franchise and Van Helsing.

For those who don't know (and knowing is half the battle...) GI Joe is an elite global special forces group where agents have eccentric uniforms, specialties and quirky code names such as "Heavy Duty" and "Ripcord". They also have state of the art technology and a virtually limitless budget. It makes a great 4" tall toy, but some of the coolness is lost in translation to the screen. I never before realized how cheesy the whole concept is, and watching grown men try to act out these characters is kind of sad and shatters some of the innocence of my youth.

I feel about GI Joe even more affectionately than I did for Transformers. And that is why I am being generous with my criticisms. I could not have made a better film than this. It was over 2 hours of non-stop action, and there was minimal filler mixed in with outstanding visual effects and futuristic technological gadgets. It was entertaining as hell, and oh how I envy the 10 year olds who get to see this.

The plot is what you would expect from something like this: [SUSPEND BELIEF] Evil organization (with limitless budget) tries to strike fear into the citizens of the world through nano-biological attack (or something like that) and can only be stopped by this one particular unit of super soldiers. Let's be honest, people won't see this for the plot anyway. The plot is an excuse to blow things up and show off exceptional special effects.

Channing Tatum leads the international cast along with Marlon Wayans, Dennis Quaid, Sienna Miller and many others. The acting is what you expect - most of their work was probably done in front of a green screen anyway. The surprise for me was Joseph Gordon Levitt as Cobra Commander. When I read about the choice to cast him in the role, I was a little perplexed, but he pulls it off fine - even using the trademark voice modulation that fans of the cartoon will recognize and appreciate.

They did a good job with the story in the sense that they covered all of the necessary character development and back stories, but did so briefly - uncovering an incestuous web of brothers, sisters, husbands, wives, girlfriends, etc. It seems like each of the good guys has some hidden connection to at least one of the bad guys, but that's the way that the comics were written, so it works [SUSPEND BELIEF].

The film obviously leaves us with the setup for a sequel (or more) and honestly, there is a lot that they could do with the franchise with an almost endless line of characters and weapons and storylines. [SUSPEND BELIEF]

I can't slam the film too much, because Sommers presented it in a fresh, action-packed and ultimately respectable package. The effects were some of the best I've seen and clearly there was no expense spared. The preliminary budget was set at $170 million, but they could have easily exceeded that, and the number of scenes justified it.

My only real complaint is that the direction during action sequences was unusually jerky, and I do think seamlessly integrating effects so that there isn't that blur to mask inferior visual effects will be the next task of the industry. It will happen, but I understand that the technology is just not quite there yet so I can't knock them too much.

Like I said, I couldn't have done a better job, and I was taken back to a simpler time when it wasn't so difficult to suspend belief. There was an excitement to seeing some of my favorite characters (Snake Eyes and Storm Shadow) on the screen, and although acting, directing and story were all just mediocre, the action and pure summer blockbuster fun carried the film just enough for me. 7/10.

Part One - Tom Hanks

Part I - Tom Hanks

Tom established his credibility as more than just a funny guy when he took the role of Andrew Beckett, a lawyer who loses his job because he has AIDS in 1993's Philadelphia. Subsequent roles over the next 5 years as Forest Gump, Jim Lovell and Captain Miller earned him 2 Best Actor Oscars and the utmost respect of the acting community, propelling him to the top of the A-list of modern day thespians. Since 1998, he has participated in a wide array of roles, from voicing Pixar characters, to taking the lead in a Coen brothers comedy, to playing the interestingly coifed Dr. Langdon in Dan Brown's two mega hits - Davinci Code and Angels and Demons.

It is clear that Hanks has reached the point in his career where he is choosing roles not out of necessity or desire for recognition, but out of curiosity and fascination of how far he can push himself to become the chameleon necessary to be just believable enough to convince the audience that he actually is the foreigner indefinitely stuck at an airport, or Texas congressman Charlie Wilson. He is choosing roles for fun now. He has also teamed with his favorite directors; Ron Howard and Steven Spielberg in producing HBO mini-series' that go deeper into some of his favorite historical events - WWII and space exploration.

Although his executive producer resume is impressive as well, that is not why he is on this list. Here are the 5 most significant roles in his illustrious career:

Philadelphia (1993)

Andrew Beckett gave us 3 unique things in this film: The arrival of Tom Hanks in the upper echelon of acting, a glimpse at Denzel Washington's range which had been mostly limited to exceptional performances in period dramas, and a raised sense of awareness about AIDS. It marked the step from boy to man for him, from comedies such as Big and Bachelor Party to subject matter to be taken seriously, and this film really marked that transformation with an exclamation point. Had Hanks not chosen this film, and subsequently won a Best Actor Oscar, I doubt that he would have been given as much critical acclaim in his follow-up film - Forest Gump. He almost certainly would not have won his second Oscar in as many years.

Forrest Gump (1994)

Iconic and endearing, Forrest Gump was a hybrid film of epic proportions. Never before had a drama with subtle comedic undertones taken the silver screen so forcefully. It became the hit of the year, virtually sweeping the major awards as well. The film however, would not have been the same had it not been for Hanks' tender, naive and ultimately beloved portrayal of the simple Forrest Gump. His status at this point was bolstered by being the reigning Best Actor Oscar winner, but there was something magical about the film and the performance that touched nearly everyone who saw it.

Saving Private Ryan (1998)

The great thing about Tom's role in this film is that it was subtle and smooth. His performance blended in with the rest of the cast as they all let the story and the magic of Spielberg's camera deliver the essence of Normandy in one of the all-time great war films. This would be the one role where Hanks should have won awards, but didn't. This film also marked the end of an era and the beginning of another for Hanks. Every actor hits a point where they are no longer the young leading man, but rather the middle age man. Older, wiser, more vulnerable in a sense. A side of Hanks was uncovered in this film that he hadn't shown before. From this point he began taking a turn in his career and explored more eccentric roles. However, the star power that he possesses contributed to making Saving Private Ryan truly great, and there isn't another actor around who could have done what he did with the role of Captain John Miller.

Castaway (2000)

I had a hard time choosing between Apollo 13 and Castaway - my 5th and final addition to this particular list. I chose Castaway however due mostly to the physical transformation that Hanks underwent during the filming, going from a fat and happy FedEx executive to an emaciated and haggard man stranded on a deserted island. With the exception of the beginning and end, Hanks was the only actor in this movie, and it was brilliant. From conversing with inanimate objects to the despair and loneliness of his plight, he brought an emotional intensity that is truly rare and frankly, risky.

Road to Perdition (2002)

Perhaps my favorite of all of Hanks' roles, this underrated period drama by Sam Mendes displays the corruption and danger associated with organized crime in 1920's Chicago. Hanks plays Paul Newman's enforcer. The trusted quiet man who does the dirty work, and does it well. What we see from Hanks is something he had not played before - a man who has lost his moral compass despite truly caring for his friends and family. He is a yes man, and although an assassin and a killer, he still has that quality that makes you root for him, be it a pained look in his eyes, or the glint of a smile during conversation with his son. The film is full of quirky characters and brilliant cinematography, but it is Hanks as the tormented father who brings depth and real character to the role.

Between 1989 and 2001, Hanks has garnered 5 Oscar nominations including 2 wins. Between 1989 and 2008 he has been nominated for 7 Golden Globes, including 4 wins.

Greatest Actor of the last 50 Years

In an attempt to broaden my audience, as well as add a little flair to the monotony of film reviews, I have decided to create a four part commentary with objective analysis to determine who is the greatest actor of the past half century. There may be some dispute as to who my selections are, and I invite any and all opinions, comments and challenges.

I chose the past 50 years because quite honestly, film has changed dramatically since the 1960's. With the advent of visual effects and fickle audience expectations and taste, it is nearly impossible to compare a Bogart to a DiCaprio. That said, my choices of actors to compare is partially due to their critically acclaimed body of work, partially due to my own respect for their attention to their craft, and partially arbitrary. There are dozens of actors who one could say belong with the four I have selected; Denzel, Philip Seymour, Hoffman, Hackman, Redford, Newman, DiCaprio, the list goes on and on.

The decision is not based entirely on Oscars, although all of my choices for greatest actor have won at least one in their careers. The primary reason for this is that Oscar is sometimes wrong. Take 1999 - Shakespeare in Love? More deserving than Saving Private Ryan? 2006 - Crash is a better film than Brokeback Mountain, a History of Violence or Munich? What about Shawshank Redemption - arguably the best movie of the past 20 years. It received the nominations, but didn't win a single award. My point is that Oscars should not be the basis for evaluation. Body of work, choices of roles, and the lasting impressions that are left far after a viewer walks away from the theatre (or watches a DVD) are what make actors memorable and deserving of credit.

The evaluation will consist of analysis of the 5 most important roles for each actor. Some were benefited by a great director, a great story, a juicy character to portray or an outstanding supporting cast. However, these roles were all played with such energy and vigor that it is impossible to deny their skills.

The four part commentary will conclude with the 2009 edition of the top 100 films of all time as assembled by yours truly.

May the best Actor win...