Kelly McGillis

Val Kilmer plays Virgil, a serene resort worker who plays hockey in the dark and is the best masseur this side of the Catskills. Onto his table comes Amy, a bone-weary NYC architect (Mira Sorvino) who cries the first time Virgil does his magic. Instead of a voyage into the world of blindness, Amy's first instinct is to take Virgil to an eye doctor who can restore sight (Bruce Davison). Virgil receives sight, crumbling the trust between him and Amy. The clichés start building up and by the time Amy is wooed by her ex-husband (Steven Weber), her boss no less, one's patience wears thin.

The medical curiosities of the story--Virgil can see an item but can't grasp what it is until he touches it--do not translate well on screen. The film's liveliest character is Nathan Lane as a teacher of the blind. A scene with Virgil that gets to the heart of his ailment is so filled with spontaneity, one wonders if it was scripted or simply Lane's own extemporaneous dialogue. After an admirable start as a director (Guilty by Suspicion), Oscar-winning producer Irwin Winkler has not been able to put cinematic highs or believable angst into his films (The Net, Night in the City). At First Sight may look good but it is blind where it counts. --Doug Thomas
A rare, sweet and seriuos movie, 2000-11-30
As always, Val Kilmer is brilliant as the blind man, virgil. He meets Amy (Mira Sorvino ) at the health center where he works as a masseur, and they fall in love. The story is about how to cope, when one part is blind and the other wants to do everything in her power to help restore his sight. There are many ups and downs and none of them stops to think of the consequences, regaining sight will cause. Not to mention the fact that there are no guaranties, that he will keep seeing. And of course there is the problems of other people, their reaction to the relationship and the fact that Virgil is blind. It takes a lot of time and pain to get where they both want to be: together. But best of all, it is based on a true story and that makes it absolutely wonderful. A movie to watch.

With Days of Thunder, director Tony Scott tried to do for the Indy 500 what he did for the U.S. Air Force with Top Gun. But without Top Gun's go-go soundtrack and visual feats, Scott merely ends up with a Tom Cruise vehicle that's out of gas. Cruise plays (what else?) a cocky, upstart stock-car racer who faces down ruthless racing opponents. Nicole Kidman, Robert Duvall, Cary Elwes, and Randy Quaid do the laps around this movie's tiresome track with Cruise, while director Scott attempts to propel the action along with his trademark visceral, gritty but glamourous visual style. Days of Thunder is notable, however, as a turning point in Cruise's then one-dimensional career. After this film--having tired even his most devoted fans by playing a bartender, an air force pilot, and a stock-car driver--Cruise was forced to take on real character parts. --Ethan Brown

Top Gun

Jingoism, beefcake, military hardware, and a Giorgio Moroder rock score reign supreme over taste and logic in this Tony Scott film about a maverick trainee pilot (Tom Cruise) who can't follow the rules at a Navy aviation training facility. The dogfight sequences between American and Soviet jets at the end are absolutely mechanical, though audiences loved it at the time. The love story between Cruise's character and that of Kelly McGillis is like flipping through pages of advertising in a glossy magazine. This designer action movie from 1986 would be all the more appalling were it not for the canny casting of good actors in dumb parts. Standouts include Anthony Edwards--who makes a nice impression as Cruise's average-Joe pal--and the relatively unknown Meg Ryan in a small but memorable appearance. --Tom Keogh