Huievest Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

Zandra The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Candida It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

Cheryl A clunky actioner with a handful of cool moments.

John Brooks Time is 2000. Bruce Willis fresh off 'the Fifth Element'. An on-form Matthew Perry fresh off 'Friends'. This is a crime-comedy with all the goods from either world, and it's done *just right*. The plot is good, and the film's got that typical contorted type story at the middle of it linking many different characters, but still absolutely coherent and compelling. Perry really is very funny in this one, and it's about to be one crazy ride for this prude of a dentist when an ex- big time conman is his neighbor and he finds out who he is and somehow finds himself involved. This is a crazy ride, with lots of great fun and action, good laughs, a good atmosphere between tight tension and comedy relief, the supporting cast is great, and the plots within the plots are strong enough to make this a fairly layered piece of genre-hybrid cinema. Just all in all, an excellent comedy.

Python Hyena The Whole Nine Yards (2000): Dir: Jonathan Lynn / Cast: Bruce Willis, Matthew Perry, Natasha Henstridge, Michael Clarke Duncan, Amanda Peet: Caper comedy about the trouble we sometimes find ourselves in and the emotional endurance to figure out a solution. Matthew Perry plays a dentist who hates his marriage. Bruce Willis plays a criminal who moves in next door and refuses the witness protection program. Perry is blackmailed by his wife to expose him and reap profit. Clever concept littered with clichés. The ending uplifts criminals with humour evolving around murder. Director Jonathan Lynn previously made Sgt. Bilko but here his directing is more conventional. Willis plays Jimmy the Tulip as the ominous new neighbour who is way ahead in the con game. Perry as the depressed dentist is miserable until he becomes stranded within danger and lust. Michael Clarke Duncan plays Willis's right hand man who at first is seen as an enemy. The handling of the character in the conclusion is too conventional. Natasha Henstridge is less than effective as Willis's ex-wife. Her romance with Perry is more predictable formula than anything. Amanda Peet steals every scene she is in as Perry's dental assistant who desires to meet Jimmy. Theme regards the curious lifestyles of those living around us. It never goes the whole nine yards but the ground it does cover is a hoot at best. Score: 5 ½ / 10

SnoopyStyle Nicholas 'Oz' Oseransky (Matthew Perry) is a meek dentist in Montreal. His wife Sophie (Rosanna Arquette) is a money grubber who may be looking to cash in on his life insurance. His new assistant Jill St. Claire (Amanda Peet) tells him to divorce her. Then notorious mob hit-man Jimmy 'The Tulip' Tudeski (Bruce Willis) moves in next door. He immediately recognizes Jimmy is in danger of a contract kill from Chicago mob boss Janni Pytor Gogolak (Kevin Pollak). Sophie pushes Oz to cash in on the contract and he goes back to Chicago to appease her but not intending to contact Janni. She immediately tells Jimmy to double cross Oz. Oz is confronted by hit-man 'Frankie Figs' Figueroa (Michael Clarke Duncan) who brings him to Janni. Oz falls for femme fatale Cynthia Tudeski (Natasha Henstridge). She tells him that Janni's father Lazlo hid $10M with her before being sent to prison. It can only be accessed with three signatures from her, Janni, and Jimmy. Or else it can be accessed with their death certificates. Janni sends Frankie with Oz back to Montreal to track down and kill Jimmy. Only there are even more double crosses.My biggest problem with this is director Jonathan Lynn. He doesn't show enough comedic skills in this. There are some good potential but it looks like a second rate movie. This should be so much funnier. It's simply not well filmed. There is also the $10M jackpot. It's way too convoluted and simply a device to give the characters a reason to do what they do. It's backwards writing. Mostly, it's awkward.The good part is all the good actors around. Most of them are doing their best. Natasha Henstridge is a little stiff. Kevin Pollak isn't as funny as he needs to be. Matthew Perry is working hard and has good chemistry with Bruce Willis. The boys are good with Amanda Peet. Perry has less chemistry with Natasha Henstridge. There are a few laughs. I just wish it has a lot more.

david-sarkies I think the term 'Black Comedy' best describes this film because it does not necessarily fall into the category of art-house, nor do I believe that it falls into the category of independent, though I would certainly not consider it your typical Hollywood film (an though it is set in Canada I believe it is basically an American films). The story is about a dentist named Oz who is married to a wife that makes one wonder if he is being punished for a crime that he committed in another life and is stuck paying off her father's debt that he inherited after her father committed suicide.Then a former hit-man who ratted out a Chicago mob boss moves in next door and she sees a double opportunity. First she could rat him out to the Chicago mob and collect on a finder's fee, and secondly (if that doesn't work out) she can hire him to kill Oz so she can collect on his life insurance. The problem is that she has already been trying to do this, and the last assassin she hired ended up liking Oz and could not bring herself around to killing him. As for Oz, while he is in Chicago he ends up meeting the hit-man's wife and falling in love with her, only to discover that the hit-man does not believe in divorce.This is a great movie that will have you in absolute stitches the first time you see it (and maybe the second time as well) however the problem is that it relies too much upon the many twists and turns and in the end, once you know what is going to happen, it ceases to be all that wonderful anymore. Unfortunately this film simply does not have the staying power that some of the other black comedies that I own have, and in fact it seems to have pretty much fallen to the wayside. In a way it is not like Pulp Fiction or Lock Stock and Two Smoking Barrels, that have a cult following, but rather one of those films that you can say, oh, I remember that, and then move on to something else.