FilmJerk Favorites

A group of unique directors and the essential works that you've got to see.

||| Rob Reiner |||
Rob Reiner

Son of comic genius Carl Reiner, Rob Reiner has picked up the family torch and directed some of the most memorable, quotable, and endearing comedies of the last two decades, and he’s no schmuck when it comes to dramas either.

This is a hilarious spoof filled with biting satire about a filmmaker making a documentary (or “rockumentary” if you will) about a once famous raucous British heavy metal band on a disastrous U.S concert tour, featuring the magnificent talents of co-stars/co-scripters Christopher Guest, Michael McKean and Harry Shearer. This granddaddy of the mocumentary speaks to the hard rockin’, air guitar playing 14-year-old boy in us all.

In this low-key sleeper hit based on a Stephen King story four young boys in 1959 Oregon set out on a camping trip in order to see a dead body one of them accidentally found. This is a loving memoir to a simpler time with an exceptionally talented young cast tentatively taking the steps on a road that leads to maturity.

Reiner turns a wry, even caustic, eye on men and women in friendship and in love, and that gray area in between. This is an engaging and smartly performed comedy about a pair of longtime platonic friends who turn a feud into a lasting friendship, determined not to let sex mess up a great relationship, until love threatens to ruin everything.

Recommended by CarrieSpecht

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Twisted

By BrianOrndorf

February 27th, 2004

The new serial killer/sex thriller “Twisted” recalls a day when Joe Eszterhas ruled the screenplay world. With its convoluted plotting, awful performances, and puzzler ending, “Twisted” had a clear shot at becoming a treasured guilty pleasure, but instead it’s just an old-fashioned bad time at the movies.


Jessica Shepard (Ashley Judd) is a San Francisco street cop who has just been promoted to detective. Her first case involves tracking a serial killer who has a peculiar choice of victim: ex-lovers involved with Jessica’s promiscuous and sexually violent lifestyle. Horrified, Jessica attempts to keep this information away from her mentor (Samuel L. Jackson) and her partner (Andy Garcia), as she tries to put the pieces together. But plagued by blackouts and her own disagreeable demeanor, Jessica begins suspect herself as the killer when the clues start pointing to her.

“Twisted” is a psychosexual thriller along the lines of the Joe Eszterhas screenplays that littered the 1990s film landscape (“Basic Instinct,” “Showgirls”). And much like those films, it’s an overheated, needlessly complex motion picture that eventually just gives up on itself. It doesn’t even cross over into shameful guilty pleasure country, like Eszterhas’s “Sliver” or “Jade.” “Twisted” is just a cleanly cut, old-fashioned bad movie.

Written by freshman Sarah Thorpe, “Twisted” opens with the sights and smells of a decent cop thriller, complete with a delicious mean streak trait that is shared by all the characters. The only real hero is Jessica, and she’s a law-bending, one-night-stand-loving officer of the people, who is also prone to excessive drinking and rough sex. You just don’t see that type of behavior from a lead character anymore. The director is Philip Kaufman, a filmmaker who knows a thing or two about kinky corners of sexuality (“Henry and June, “Quills”), as well as excessive film quality (“The Right Stuff”), and he seems a perfect choice to infuse “Twisted” with a creepy vibe of impending doom in both the homicide sense and in the sheets.

However, “Twisted” dies at almost the very moment it begins. Logic is a big tripwire, and the script sidesteps a lot of problems by having characters just disappear for no reason, or in Jessica’s case, simply blackout. The ending is also a jumble, containing a complete lack of sense, and it feels like the product of a screenwriter who was already two weeks late on delivering a draft and needed something quick. The entire film is poorly paced and awkwardly constructed, leaving little interest in the thriller proceedings that pop up occasionally to remind the audience what they came for.

Ashley Judd is another blunder of the film. I’ve liked Judd in the past, especially in her trademark thriller roles (“Double Jeopardy,” “High Crimes”), but she falters massively trying to bring Jessica to life. The appeal of the textured character is evident, but Judd can’t quite get a grip on the psychological complexity of the role, relying on a hard-ass approach that her elfish features betray. As Jessica’s world continues to dissolve and suspicions arise, Judd just gets worse, peaking with one scene that asks this hardened cop to open the floodgates of tears, unexpectedly eliciting big laughs in the process.

My rating: D-