Overlong and self-indulgent, The Deer Hunter nevertheless comes off as an engaging, sporadically electrifying piece of work that benefits from the inclusion of several undeniably absorbing elements (including the uniformly captivating performances and Vilmos Zsigmond's breathtaking cinematography). The film follows three working-class friends (Robert De Niro's Michael, Christopher Walken's Nick, and John Savage's Steven) as they enlist in the Vietnam war and subsequently encounter increasingly perilous horrors on the battlefield, with the remainder of the movie detailing their individual attempts at adjusting to post-war civilian life. Director Michael Cimino - working from Deric Washburn's screenplay - has infused The Deer Hunter with an evocative, unexpectedly authentic atmosphere that's initially employed to less-than-engrossing effect, as the filmmaker offers up an overlong and hopelessly slow-paced opening hour that's almost oppressive in its repetitiveness (with the seemingly endless wedding reception undoubtedly the most apt example of this). It's not until Cimino shifts gears to the trio's stint in Vietnam that the film first becomes as compelling as one might've expected, and it's ultimately impossible to downplay the effectiveness of the now legendary Russian roulette competition that ensues between the Vietcong and their prisoners (although the tense hunting trip that leads into the war sequences is also quite stirring). The enthralling vibe is enhanced by both the searing performances and Cimino's masterful direction, with the strength of the Vietnam-based scenes effectively carrying the proceedings through its relatively underwhelming post-war stretch. And while there's no denying the power of the movie's affecting conclusion, The Deer Hunter's overall impact is ultimately dulled by the pervading aura of excess that's been hard-wired into it by Cimino.

out of

Heaven's Gate

Year of the Dragon

The Sicilian

Desperate Hours (June 29/12)

A fairly pointless remake, Desperate Hours follows three criminals (Mickey Rourke's Michael, Elias Koteas' Wally, and David Morse's Albert) as they decide to lay low by picking a house at random and waiting there for the heat to die down - with the film subsequently (and primarily) dealing the trio's ongoing interactions with the residents of said house (Anthony Hopkins' Tim, Mimi Rogers' Nora, Shawnee Smith's May, and Danny Gerard's Zack). It's difficult to pinpoint exactly why Desperate Hours just doesn't work, as the film boasts a laundry list of appealing elements - including stylish visuals, a strong, seemingly infallible premise, and a roster of appreciatively off-kilter performers. Despite its proliferation of positive attributes, however, the movie is never entirely able to become the tense thriller that director Michael Cimino has clearly intended - with the flat, stagnant atmosphere exacerbated by an ongoing emphasis on extraneous tangents and subplots (eg there's a whole stretch detailing Morse's character's attempts at evading the police). Rourke's charismatic yet intimidating performance and Cimino's captivatingly over-the-top directorial choices are generally strong enough to (partially) compensate for the movie's flaws, and there's little doubt that Desperate Hours, at the very least, comes off as a consistently watchable misfire. (The film could, and should, have been so much better, though.)

out of

The Sunchase