Archive of Dave F's 2000 Reviews and other matters
Dave F's 10 Best of
1999: 1. "American Beauty," 2. "Eyes
Wide Shut," 3. "Magnolia," 4. "The Insider," 5. "Toy Story2," 6. "All
About My Mother," 7. "The Iron Giant," 8. "Three Kings," 9. "Being
John Malkovich," and 10. "Fight Club."
Dave's scale is 1 through 4 stars.
"Quills": is the
tale of the final days in the life of the Marquis de Sade (Geoffrey
Rush). Much of the film takes place in 1807 in Charenton, an insane
asylum in France, where the Marquis is held based upon judgment of
his writings and strangely perverted behavior. Charenton is run by
the Abbe de Colmier (Joaquin Phoenix), a young priest who oversees
the asylum with a kind hand. His kindness is continuously tested when
the Marquis' erotic writings, including the infamous "Justine," keep
showing up on the outside -- smuggled by a lovely chambermaid (Kate
Winslet), much to the delight of a sexually curious public, but to
the disgust of one Dr. Royer-Collard (Michael Caine), a
self-righteous, but ultimately hypocritical, psychologist, who is
dispatched to the asylum by Napoleon to restore order and to censor
the Marquis once and for all. The title "Quills," reveals much about
the direction of the film. It isn't a graphic study of the Marquis'
sadistic activities -- instead it's a journey into his mind through
his writings, most often using quills provided by the Abbe in an
attempt to pacify his twisted patient. When Dr. Royer-Collard shows
up, the quills are taken away and the Marquis' instruments for
writing his tales gradually become chicken bones and blood and other
disgusting things. "Quills" was directed by Phillip Kaufman from Doug
Wright's play. Wright's adaptation deftly shows the influence the
Marquis had upon the people directly, and indirectly, in his life
(especially the Abbe and Madeleine, the chambermaid who risks her
meager existence by giving in to the allure of the Marquis), but
"Quills" has a certain...emptiness. The film keeps your attention
primarily through the fascinating power wielded by the Marquis and
from the performances of its actors. Michael Caine seems to improve
upon his award-winning kind doctor in "Cider House Rules," and the
always compelling Joaquin Phoenix -- clearly one of our better
actors, turns in an oustanding job as the kindly priest. It was
Geoffrey Rush, however, who gave the film's best performance. Rush's
de Sade was amazing and should be rewarded. "Quills" is a dark, and
sometimes graphic tale of perversions, but it's like a small portion
of a very tasty appetizer -- you want more, but it isn't there.
Recommended for the performances and compelling tale. *** (out of)
****
"You Can
Count on Me": Sometimes siblings can be wonderful reminders
of your past; other times, a reminder of why you're focused on the
future -- but no matter what the case, a special bond will always
exist. "You Can Count on Me" begins with brother Terry (Mark Ruffalo)
turning home to Scottsville, NY to live with his sister, Sammy (Laura
Linney) and her son, Rudy (Rory Culkin of the Culkin childstar
factory). Terry is a sad-sack, having spent most of his adult life
drifting, while single mom Sammy seems content to eke out her
existence as a lending officer for the town bank. Eight year-old
Rudy, having never met his dad and desperate for a father figure,
latches onto his uncle Terry, who'd never planned to stay more than a
day or two. The story unfolds with morally righteous Sammy becoming
involved with her anal-retentive boss (Matthew Broderick in a
rehashing of his role in "Election"), who happens to be unhappily
married and three months away from becoming a father. Meanwhile, her
atheist brother is content to carouse and be a poor influence upon
his young, impressionable nephew. Sammy, having a strong sense of
family (her parents were killed in a car crash when she was young)
and being the pitying type (hence her tryst with her pathetic boss),
tolerates Terry, who is still rebelling in his mid-thirties. Writer
and director Kenneth Lonergan (he scripted "Analyze This") keeps his
story fresh with a honest sense of modern reality. There are probably
dozens of small towns like Scottsville, filled with Terrys and
Sammys, but this one never strays from its honesty. Lonergan coaxes
amazing performances from his lead actors, especially Ruffalo, who is
so wildly effective as Terry the drifter, that you won't believe he's
just an actor and not some loser picked off the street. And Linney is
perfect as the sweet and honest Sammy. They play siblings who are two
lost souls, drifting in opposite directions but existing on the same
emotional plane. The film's title refers not to dependibility (a
trait neither character possesses) but that despite their difference
in personality, a brother-sister bond is permanently forged. The
film's touching conclusion (it is impossible to be unmoved by it,
especially if you have siblings) reinforces that bond. Lonergan has
crafted a beautiful story with deep emotional underpinnings for a
film that's well worth seeing. Recommended highly *** 1/2 (out of)
****
"Unbreakable":
begins with a series of statistical data involving the popularity of
comic books. How is this relevant to the film? Well, that's the
beauty of "Unbreakable," writer-director M. Night Shyamalan's
followup to "The Sixth Sense," for the film *is* a comic book. It's
that cool comic book you read as a 12 year-old (believe me, I can
relate) that slowly unfolds and builds to a very satisfying climax.
Bruce Willis plays David Dunne, a security guard for a sports complex
in the Philadelphia area. Dunne is the lone survivor of a horrific
train derailment that claimed the lives of 125 people. In fact, Dunne
not only survived, he came away without a scratch. The resulting
press coverage attracts the attention of Elijah Price (Samuel L.
Jackson), an eccentric owner of a comic book store/comic art gallery.
Price, who was born with a condition that literally makes his bones
brittle as glass, feels Dunne, who has never been hurt or sick a day
in his life, is his polar opposite -- Mr. Unbreakable to his Mr.
Glass. Dunne is reluctant to accept his newfound uniqueness and only
a series of events (all spoiler-related) convinces him otherwise.
While Willis and Jackson deliver their usual solid performances, it
is M. Night Shyamalan who is the real star of his film. Shyamalan's
script and direction are nothing short of brilliant. He fills
"Unbreakable" with an unsuffocating sense of style and a healthy dose
of appropriate symbolism. Shyamalan forces the viewer to think
(especially afterwards) while taking them on a slow ride, showing
Dunne's tortured marriage (the wife is played by Robin Wright Penn)
and relationship with his son (Spencer Treat Clark), who wants to
idolize him, but is too often pushed away by his dad's distance.
Willis, as in "The Sixth Sense," spends the film in a quiet,
unemotional state; looking for himself -- his purpose in life.
Price's influence upon Dunne; how he drives him to find that purpose,
is what makes "Unbreakable" so darn interesting. It is the film's
ultimate payoff (all the clues are there but you'll never see it
coming) that gets you thinking. In a nutshell, "Unbreakable" is a 107
minute comic book that really delivers. Recommended highly *** 1/2
(out of) ****
"Dancer In
The Dark": is the latest film from Dogma
95 devotee, Director Lars von Trier ("Breaking the Waves"). His style
(hand-held cameras, natural lighting) is very much in evidence here,
and admittedly requires some adjustment on the part of the viewer,
but his story of a Czech woman who journeys to the Pacific northwest
part of the United States with her twelve-year old son, is strong
enough to keep the viewer's attention. The Czech woman, Selma
(Bjork), finds work in a press factory and a trailer home across from
a nice couple (David Morse and Cara Seymour), while saving money for
an eye operation for her son. Selma is slowly going blind herself and
fears her son will be afflicted with the same condition, but she's so
stubborn and proud that she lies and pretends she is sending her
money back home to her father -- a father that doesn't exist and is
based upon an old actor she watched as a child. Selma escapes her
life through her love for musicals. She can daydream her way into a
"musical outbreak," and we, the viewers, are taken for a wild ride
into her imagination. It's this part of the story, which eventually
takes a tragic turn, that catapults von Trier's vision into
greatness. The story itself is sad, but the ever optimistic Selma,
whose smile lights up the screen even in the face of impending
tragedy, forgets her troubles in favor of a lavish dance number. This
may seem unorthodox, but it works -- believe me. Bjork, normally an
avant garde pop musician (she also contributed the film's music and
sang the dance numbers), is remarkable as Selma. Every note, from her
sweetness to her passions to her heavy emotions, is genuine. I cannot
rave loudly enough about her performance -- simply one of the most
amazing I've ever had the privilege to watch. It's easy to understand
why she won the best actress award at this year's Cannes film
festival (the film took top prize) -- it's difficult to imagine
anyone else in her role. Bjork is supported, wonderfully, by
Catherine Deneuve as her best friend, Kathy; Peter Stomare (the
woodchipper guy from "Fargo" in a completely different role) as Jeff,
a friend who grows to love Selma; and David Morse as Bill, her
neighbor and landlord. Lars von Trier, with all his quirks and
nuances as a filmmaker, has created a brave, unconventional, and
astonishing film that will stay with me for a long time. von Trier
deserves praise for not compromising his artistic principles, but
admittedly I wished he had. von Trier's unsteady camera hand and
sometimes abrupt editing style are possibly "Dancer in the Dark's"
lone flaws but still not enough to overwhelm his wonderful story and
Bjork's unforgettable performance. Recommended highly. *** 1/2 (out
of) ****
"Titus":
Revenge is a dish best served cold. Such is the theme for the
latest Shakespeare adaptation; this time it's "Titus Andronicus,"
William Shakepeare's tale of revenge among families. Titus (Sir
Anthony Hopkins) returns from war with the Moors, with prisoners in
hand, and a heavy heart. He decides to kill the oldest son of Tamora,
Queen of Goths (Jessica Lange) as partial payment for the death of 21
(out of 25) of his sons. Tamora and her two remaining sons (Matthew
Rhys and Jonathan Rhys Meyers) are spared by Emperor Saturninus (Alan
Cumming), who decides to make Tamora, now thirsting for revenge upon
Titus, his Empress. Meanwhile, Aaron (Harry Lennix), a Moor, and
Tamora's secret lover (and self-confessed meanie), plays both ends as
he goes after Titus and Saturninus (at least indirectly, through his
actions with Tamora). Violence is a plenty; unspeakable atrocities
are committed, and a good time is had by all. Broadway director Julie
Taymor ("The Lion King"), like Sam Mendes ("American Beauty," after
directing "The Blue Room"), is a theater director who has recently,
and with great success, transferred her gifts to the large screen.
Taymor, also adapting the screenplay, chooses to blend modern day
devices into a story that takes place during the fifth century. We
see motorcycles, classic cars, arcade games, microphones, sunglasses
-- all to enhance the ambiguity that's rampant throughout the film.
Stylistically,"Titus" seems to be a cross between "Brazil" and "Mad
Max," with lavish set designs and elaborate (and often comical)
costumes. Visually, "Titus" is stunning, though Taymor reigns in her
temptation to overwhelm the story with style. Taymor expertly directs
her wonderful cast, especially Hopkins, who, as in nearly all his
roles, seemed born to play his part. And Jessica Lange as the Empress
Tamora, is delightful, playing her role with wicked effectiveness.
And of course Alan Cumming as Emperor Saturninus and Harry Lennix as
Aaron. two characters with axes to grind against one another, are
outstanding in their roles. Remarkably (or maybe not -- considering
the professionalism of the cast), the actors, especially Cumming and
Lennix, aren't afraid to outshine and dominate a scene with their
legendary counterparts, Hopkins and Lange. Every actor in this film
dives into his or her role, making "Titus," already a story-driven
and visual delight of a film, nearly perfect in overall scope.
"Titus," plain and simply -- is a blast. Recommended highly *** 1/2
(out of) ****
"Nurse
Betty": stars Renee Zellweger as the very delusional Betty;
convinced she must reunite with her ex-lover, Dr. David Ravell (Greg
Kinnear), who in reality (if you can call it that) is just a soap
opera character on a show that Betty happens to watch five times a
week. Reality clashed with fantasy when Betty witnessed her nasty
husband's (Aaron Eckhart) death at the hands of two hit men (Chris
Rock and Morgan Freeman) with her reaction being a trek to La-La land
to find her *jilted lover.* Problems ensue when she chooses to take
her dead husband's Buick which happens to contain a ton of heroin --
drugs the hit-men (now following Betty) desperately want back. The
premise of "Nurse Betty" is original (with derivative touches, of
course) but the screenwriters (John Richards and James Flamberg), who
inexplicibly won an award at Cannes for their effort, can't seem to
piece together the various twists and subplots into one cohesive
unit. I envisoned something out of an Elmore Leonard novel (he would
have had fun with this idea), probably the screenwriters'
inspiration, but these guys couldn't pull it off. Director Neil
LaBute shows marvelous range considering he's the same guy who
directed "In the Company of Men," and "Your Friends and Neighbors" --
two shining examples of well-articulated, brilliant cynicism. LaBute
gets to have fun with the character of Betty (she sees herself as a
nurse to her doctor, hence the title) who is played with incredible
charm by Ms. Zellweger, and gets to direct the incomparable Morgan
Freeman, but LaBute's obvious talent can't revive the
well-intentioned, but ultimately muddled script. A good movie with
terrific ideas that could've been much better -- that sums up "Nurse
Betty." *** (out of) ****
"Deterrence":
could not be any timelier. The film, released late last year, takes
place in a remote town in Colorado in 2008 during a fierce snowstorm.
It happens to be election day and newly-elected president Walter
Emerson (Kevin Pollack) is stuck in the area doing some last-minute
campaigning. A crisis in the Middle East breaks out (catch the
timeliness?) and Emerson, now snowed-in at a diner (the safest place
to go for miles), is forced to make important world decisions that
will impact many lives, not the least of them among the diverse
patrons of the diner, all with opinions of their own as to how the
crisis should be resolved. Writer-director Rod Lurie ("The
Contender") definitely tries to write his own personal politics into
the film, using not-so-subtle hints of Hiroshima and our recent
battles with Sadaam Hussein, to make his statements. His mistakes are
that some of his ideas are so far-fetched (I know this is just a
film, but it tries so hard to be reality-based that it demands to be
taken seriously) that it is almost comical, leaving the viewer to not
take the film seriously. And Lurie, a novice, had no business trying
to direct this film (he is a former film critic which he thought
qualified him to direct), especially given that "Deterrence" is set
almost entirely from the diner location (much like a stage play) and
relies on the emotions of its characters to define the tenseness of
the situation -- not something for an amateur director. Also, the
casting of "Deterrence" is questionable. Pollack's performance is
fine as the President, but seems out of place. Pollack as the
President comes off as a nice guy with not-so-nice ideas, while
Timothy Hutton, playing the President's Chief of Staff, seems like
the perfect jerk-villain, but winds up coming off as too
compassionate. He's good -- but in the wrong role. Sean Astin stands
out as a loud-mouth patron who fashions himself as the All-American
solution to the world crisis, and Clotilde Courau, as the diner's
waitress, gives a fine performance. Lurie had good intentions but
should've allowed someone else to handle the task of making this
film. Mild recommendation for its interesting theme (a modern
updating of "Fail-Safe") and good performances. ** 1/2 (out of) ****
(Video)
"Panic": stars
William H. Macy as Alex, a hitman for the family business (Donald
Sutherland, also playing a hitman, is Alex's father) who is suffering
a mid-life crisis -- he no longer wants to kill people for a living
and isn't sure about his marriage. Alex confides these problems (more
or less) to his therapist (John Ritter) who understandably begins to
fear for his own life, given his client's line of work. Things get
more complicated when Alex meets Sarah (Neve Campbell), a problematic
23-year old woman, also seeing a therapist in the same office. Alex
soon falls hard for the "beautiful young thing" -- not a smart move
once his father finds out. The ever-paranoid Sutherland, not this
good since "Eye of the Needle," begins to twist the knife when he
finds out his son may be sharing family secrets. Barbara Bain,
playing Alex's mother and Sutherland's very devoted wife, is equally
chilling. Tracey Ullman, who hasn't a clue about Alex's *exact*
career, is solid as Martha, his wife. Six-year old David Dorfman
playing Sammy, Alex's young son, has a memorable (and very haunting)
scene with Sutherland, who obviously desires his grandchild to carry
on the family business. "Panic," written and directed by newcomer
Henry Bromell, was a hit at this year's Sundance festival, but its
distributor, Artisan Pictures, sold it directly to cable rather than
take it to the art house circuit. This is unfortunate as "Panic"
deserves to be seen by a wider audience. The film benefits from its
pacing and strong musical score (slow and moody), which despite
several *dark* scenes, doesn't beat you over the head, instead
allowing the viewer to figure out its message. "Panic" also features
several strong performances, especially from Macy and Campbell, the
latter showing she's a lot more than just a television and horror
movie actress. Bromell does a terrific job of creating tension with a
minimum of violence. And his outstanding script really fleshes out
his characters, especially Alex, who shows a tenderness that's
perfect for a loving father, plus the coldness that's normal for a
professional killer. "Panic" is one of those well-kept secrets that
deserves to be shared with everyone. Recommended highly *** 1/2 (out
of) **** (Cable)
"The Cell":
Have you ever flipped on MTV only to find yourself lost in video
silliness and then wonder where the last hour-and-a-half went?
Watching "The Cell" is a lot like that (okay, so I've done the MTV
thing before), only more painful. The film stars Jennifer Lopez as a
professional guinea pig/child psychologist who has spent the last
several years "incorporating" the thoughts of a young boy who lapsed
into a coma, utilizing an experimental new technique that allows the
user to enter another person's mind and ultimately become part of
his/her dreams with the hopes of snapping the person out of their
coma. Cut to captured serial killer Vincent D'Onofrio who knows the
location of a kidnapped woman (he was captured before she had the
chance to become his next victim) but isn't telling 'cuz he also
lapsed into a coma (how convenient). Say...how about if you get the
good doctor to go into the killer's mind in order to figure out where
he hid the woman? And you can show lots of cool slow-mo sequences
with plenty of obnoxious music. Yea, and you can get creepster Vince
Vaughn to play an FBI guy who wants to crack the case. Nah, I can
think of a better way to waste 90 minutes. * (out of) ****
"Almost
Famous": is writer-director Cameron Crowe's latest ode to the
younger generation. William Miller (Patrick Fugit) is a wide-eyed
fifteen-year old who impresses his way into a writing job for Rolling
Stone magazine: a 3000 word article covering the tour of an
up-and-coming rock band, Stillwater. William's mother (played
wonderfully by Frances McDormand) has already "lost" one daughter to
the sins of rock music but reluctantly allows her son to follow his
passion, provided he calls her twice a day and doesn't take drugs. On
the road, William meets Penny Lane (Kate Hudson), a groupie (she
prefers the title of "band-aid"), who like himself is underaged and
clueless to the ways of the world. Penny helps William navigate his
way around the band, which is centered around lead guitarist Russell
Hammond (Billy Crudup) and lead singer Jeff Bebe (Jason Lee). Along
the way, William falls for Penny, who has already fallen for Hammond.
It's this part of the story which cements the emotions of each of the
film's principle characters. Cameron Crowe based "Almost Famous"
(named after the fictitious band's 1973 tour) on his own real-life
experience as a teenage writer for Rolling Stone covering a few bands
(including Led Zeppelin, who was reportedly the inspiration behind
the relationship between Bebe and Hammond, a la Robert Plant and
Jimmy Page). Crowe's personal perspective is what makes "Almost
Famous" work on nearly every single level. We never truly learn about
the interests of each character but we walk away knowing their inner
souls -- from Frances McDormand's role as the anguished, overly
protective mother, to Crudup's performance as the lead guitarist who
would torture himself mentally and physically and keep everyone --
including himself -- at a distance. Newcomer Fugit was perfect as the
impressionable young writer who wants to make it as a writer, a
friend, and a good son -- all at the same time. And the always
enjoyable Philip Seymour Hoffman was at his scene-stealing best as
Creem magazine's legendary writer-editor, Lester Bangs. The best
performance, however, came from Kate Hudson who was indescribably
charming and wonderful as Penny, the groupie, er.."band-aid," who
couldn't separate real life from make-believe. Hudson (daughter of
Goldie Hawn) will be around for a VERY long time. Best of all,
"Almost Famous" celebrates music. It might help to have experienced
the era of music depicted here (early-70's) to really enjoy the film,
but anyone with a deep love for music will appreciate the message. A
scene early in the film really drives this point home when William's
older sister, as she leaves home for the first time (escaping her
domineering mother), leaves William a gift of several classic rock
albums, with the message that listening to them will set him free.
Does it ever! "Almost Famous" is gifted for the way it conveys its
many passions: family, friends, love, music, and the experiences that
happen to you every single day of your life. Crowe deserves loud
applause for creating one of the year's best films. My highest
recommendation. **** (out of) ****
"Butterfly":
The setting is Spain in the mid-30's right before the onset of
the Spanish Civil War. Tensions are high between the Republicans and
the Fascists but that potentially interesting story is merely a
subplot in a film that is really a coming of age story featuring a
seven-year old boy and his older, wiser mentor. Manuel Lozano plays
Moncho, the bright but insecure young boy, just beginning his
education, while Fernando Fernan Gomez is his teacher, Don Gregorio,
a humble man who serves as the community's educator. Moncho's family
includes his tailor father, doting mother, and older brother, but
it's Don Gregorio who is the boy's biggest influence. Don Gregorio
teaches young Moncho about the beauty that surrounds him, while
Moncho's brother teaches him about the *beauties* (the latter
resulting in some crude and unnecessary scenes). The subject of
political differences within the modest community is broached, but
director Jose Luis Cuerda, working from Rafael Azcona's adaptation of
Manuel Rivas' novel of three short stories, elected to make
"Butterfly" a film of little stories, *including* the festering
conflict, instead of making a film about the Spanish Civil War -- not
a terrible idea, but basing the film on a book of three stories
(presumably the boy and his teacher; the adventures of Moncho's older
brother, Andres; and the war) only invites, and gets, a confused and
muddled film. The film seems to want to recapture the feel of "Cinema
Paradiso," but pales by comparison. The anecdotal script, not
surprisingly, lacks cohesiveness and contains an ending that
demonstrates torn loyalties, but without an appropriate resolution.
"Butterfly" is nice to look at; has a feel-good approach, and the
book is probably a good read, but the book doesn't translate well as
a film. Disappointing ** (out of) ****
"The War Zone":
begins as a simple story of a family: Dad (Ray Winstone), Mum
(Tilda Swinton), 15-year old son, Tom (Freddie Cunliffe), and his
18-year old sister Jessie (Lara Belmont). Mum has just given birth to
a third child: a daughter named April, and all is seemingly well
within the family. Slowly, we learn that Jessie and Dad are harboring
a painful, unspeakable secret that threatens to shatter the family.
Tom is the one who discovers the secret, and his anguish, knowing the
consequences of the truth, is heartbreaking. Part of the sheer power
of "The War Zone" is director Tim Roth's (one of our better actors,
making his directorial debut) very precise direction. Utilizing the
bleak, but often beautiful English coast (the film is set in Devon,
England), Roth fleshes out his tale in a slow-moving, deliberate
fashion, allowing the pictures and moods to tell the fragile story.
And there's a certain air of ambiguity which appears to be fine with
Roth, who keeps the story as simple as possible, choosing to allow
the viewer to paint their own picture of the characters; to draw
their own conclusions, instead of filling us with unimportant
details. Roth isn't afraid to show graphic images to paint his
portrait, but he does it in a way that's important to the emotional
impact of the story, and not in any way that's exploitive. The film
has elements of "Murmur of the Heart," not so much for the dark theme
at the center of the story, but for the closeness, at least through
the heart, of mother and son. Tom is so emotionally overwrought that
he seems to be crying inwardly. And Jessie, choosing to live her
secret in denial, is an emotional timebomb. Dad, who seems to exist
in his own world, is oblivious, and in his own mind, guiltless. The
film, in mood, is closer to "The Ice Storm," but comparisons here are
silly because it might detract from the sheer power of "The War
Zone," a film that's so amazing for its bravery and unforgiving style
(there didn't seem to be a single cliched or "pat" scene); for the
sheer scope of its brilliance, that it should stand on its own.
Seamus McGarvey's cinematography of the English coast is breathtaking
and captures perfectly the mood of the story, which was written, with
sparse dialogue, by Alexander Stuart, from his novel of the same
name. The real stars of "The War Zone" are the two young actors,
Cunliffe and Belmont, both making their film debuts, and each
delivering astounding performances. Few words are spoken; few tempers
are lost, but the emotional impact of the film, and the performances,
resonates loudly. "The War Zone" is a film that deserves to stand on
its own merits, not its theme. My highest recommendation **** (out
of) **** (Video)
"Jesus'
Son": is about distinctions; how each of us have the power to
make the right choices in our lives, but often fail to do so. And how
it often takes a shattering experience to guide us down life's
correct path. FH (Billy Crudup) has a special gift of anticipating an
accident before it occurs but he chooses to ignore this gift and
answer instead to his personality flaws -- mostly the by-product of
various addictions, resulting from a lack of self-esteem. FH and his
sometimes girlfriend Michelle (Samantha Morton) have chosen heroin
and alcohol (and other drugs) to undermine their increasingly
pathetic lives. The film, set in the 70's, lacks a traditional plot
structure, and is told instead as a series of episodes, like sad
skits of sad lives, and is narrated by FH, which gives us a good peek
into his psyche. We see FH in a lovable way; an almost child-like
innocence as he slowly self-destructs; as he interacts with the bad
influences in his life: Georgie (Jack Black), an orderly in a home
for assisted living who likes to help himself to the pharmacy's
inventory; Wayne (Denis Leary), the alcoholic divorcee who is reduced
to stripping his home of its copper wiring in order to raise enough
money for the evening's rounds, and Mira (Holly Hunter) whom FH meets
in a 12-step program -- and of course, Michelle, the true bad
influence in his life. Each character is memorable in their own way
and each serves as an example of how their mistakes can make FH a
better person. The message of the film, and its underlying
implications, is what makes "Jesus' Son" such a compelling film.
Unfortunately, the film's director, Alison Maclean fails to execute
the often ambitious ideas (the film was written by a trio of writers
based upon Denis Johnson's episodic book) in a way that holds the
viewer's attention. The film was clearly on a low budget (Mr. Boom
made an appearance) and would've improved with better handlers. What
makes the film work, ultimately, is the character of FH, and
specifically Billy Crudup's remarkable performance. The fact Crudup
is able to make us feel compassion for his character (ironically,
something FH learns by the end of the film) is amazing. And Samantha
Morton (so memorable in "Sweet and Lowdown") is sad and effective as
Michelle. Jack Black (who nearly stole "High Fidelity") has a brief,
but terrific turn as the junkie orderly. Hunter and Leary (who is so
underrated) are excellent in their roles. "Jesus' Son" is unnerving
in its themes and pace but gets credit for its thought-provoking
ideas. Recommended *** (out of) ****
"Sweet and
Lowdown": is the story of the second greatest jazz guitarist
in the world -- Emmet Ray -- at least according to the wonderful
imagination of Woody Allen. Allen wrote and directed this fable of
the trial and tribulations of Emmet; a man who cannot fall in love
with anyone except himself. Emmet, the star of a nightclub jazz
quintet, meets a mute woman, Hattie (Samantha Morton), who can't help
but fall in love with this man who makes such sweet music but is such
a lowdown, good-for-nothing womanizer who continually rhapsodizes,
but frustrates, all who fall into his musical path. The eccentric
Emmet is content to drink, smoke, gamble, sleep around, play his
guitar, shoot rats at the junkyard, and watch trains -- hardly
appealing for the average woman but right at home for the blissfully
unaware and extremely narcissistic Emmet, and enough for Hattie who
can't get enough of that great music. Sean Penn plays the elusive
guitarist, giving his best performance since "Dead Man Walking;"
showing why he is one of our greatest actors. And Morton, despite
never uttering a single sound, is captivating as Hattie; playing the
sweet to Penn's lowdown; giving a fascinating performance in a
fascinating film. Morton's facial expressions accurately portray her
delicate emotions. She is an abused woman but doesn't care because
she's found her love. And Uma Thurman does a good job as Blanche, the
woman who eventually uncovers the real Emmet Ray. "Sweet and Lowdown"
is also filled with great music (this jazz fan was in heaven).
Wonderful, wonderful. And the story is told in a nicely paced
narrative style. Allen, using a series of narrators (including
himself), weaves tales of Ray, all told in a terrific urban legend
style that makes you want to learn more and more about this loveable
lout. And he really develops his characters, especially that of Emmet
Ray, who is so sad and lonely and doesn't know love when it is
staring him in the face. "Sweet and Lowdown" is a marvelous film.
Recommended highly *** 1/2 (out of) ****
"Croupier":
"I'm not an enigma, I'm a contradiction." Just another personal
observation from Jack Manfred, a failed writer who agrees, at his
father's urging, to take a job at a local casino as a "croupier"
(card dealer). Jack (played wonderfully by Clive Owen) finds the job
to be the release he seeks for his current bout with writer's block
-- the result of having nothing to write about because his life is
empty. The casino, with its troubled atmosphere, proves to be a
treasure trove of research for Jack's first novel, "I, Croupier,"
where he conjures up "Jake," supposedly based upon a corrupt
co-worker, but whom his girlfriend Marion (Gina McKee) thinks is
Jack's secret fantasy of himself. You see, Jack fancies himself above
all that surrounds him. He is a "croupier, not a gambler," and knows
not to blur the lines between the two. Eventually, Jack does become
mixed up with the wrong people, including two women (played by Alex
Kingston and Kate Hardie) who compromise his belief system and
provide much of the intrigue and "twistiness" of this fine film.
"Croupier" is directed by Mike Hodges ("Get Carter") who really runs
away with his lead character. Jack, with his natty tuxedo, perfect
hair, constant cigarette dangling from his mouth, and a third-person
narrative that is basically lines from the novel as it's being
written, is straight out of early-60's film noir or a scene from any
James Bond film. Jack is a wonderful character, filled with precise
observations about the world around him. Mike Hodges and writer Paul
Mayersberg create a small little film with a keen eye for human
nature. And added are subtle little touches and twisty plot turns
(including an ending I didn't see coming -- the best kind), all
enough to satisfy the viewer looking for the next little gem of a
film. "Croupier" is like that terrific film you stumble upon on
television on a quiet Saturday afternoon; something out of the 50's
or 60's with cold characters and colder dialogue. Recommended highly
*** 1/2 (out of) ****
"The
Perfect Storm": I guess this film qualifies as a "summer
blockbuster," but like some of its big-budgeted predecessors, it's
all flash and little substance. The film, based upon a real-life
disaster, stars George Clooney as Billy Tyne, a fisherman, who is in
the midst of a losing streak. Tyne throws caution to the wind when he
decides to tackle a treacherous stretch of water near the Flemish
Cap, during a time when three systems converge, creating a weather
phenomenon known as the "perfect storm." Tyne rounds up his crew,
including Mark Wahlberg, William Fichtner, John C. Reilly, Allen
Payne, and John Hawkes, and embarks on the journey aboard the
swordfish boat, "Andrea Gail," with the hopes of catching enough fish
to make up for his recent failures. The crew, flush with plans for
the money and with women at home (Wahlberg has Diane Lane waiting for
him) are anxious, but blissfully unaware of the impending danger
facing them on the high seas. Director Wolfgang Peterson tries to
evoke "Jaws" and the suspense of his own "Das Boot" in "The Perfect
Storm" but winds up conjuring up "Top Gun," a comparison made because
of the satisfying action sequences but very lackluster non-action
scenes -- including the gratuitous rivalry (Reilly and Fichtner here,
like Cruise and Kilmer in "Top Gun") and the sappy personal lives of
the crew. The film, which is set in Gloucester, Massachusetts, allows
Peterson to throw in Northeastern accents, Red Sox references (save
for Clooney who couldn't be bothered with such Hollywood cliches),
excuses to use words like "park" and "yard" at every possible
interval, plus other common plot devices, all of which distract from
what could've been a top-drawer suspense film. The performances were
fine (though none of the actors really stretched it), but Peterson
and writer William Witliff (working from Sebastian Junger's
bestseller) could have run away with the promising material, but
chose instead to take the fascinating story and fill it up with the
typical Hollywood style that has plagued many a promising film. "The
Perfect Storm" wants to be that great summer film, but isn't.
Disappointing ** (out of) ****
"Girl,
Interrupted": is the bleak story of a young woman, Susanna
Kaysen (Winona Ryder) during the height of the free-love sixties,
who, at her parents urging, decides to check herself into a mental
hospital. Susanna is diagnosed with "Borderline Personality Disorder"
(doesn't this affect most teenage girls?), a condition that allows
her to fit in with a very ecletic group of women, including Lisa
(Angelina Jolie) the single biggest influence towards Suzanna's
mental health. Director James Mangold co-wrote the script (based on
Kaysen's autobiography) but can't bring life to the overall bleakness
of the story. Ryder's character (not surprisingly) was well-developed
but Ryder herself, seemed out of place. Jolie, who deservingly won an
Oscar for her role as Lisa, seemed born to play her role, and the
wonderful Brittany Murphy ("Clueless") gives a terrific performance
as a spoiled and very disturbed "daddy's girl." The sole fascination
with "Girl, Interrupted" is the personality tranformations of the
characters, especially Susanna with and without the presence of Lisa.
Interestingly, while Susanna had her problems before she committed
herself (she chased a bottle of vodka with a bottle of asprin when
she had a headache, and was a self-confessed nymphomaniac), the
mental hospital, and specifically her interactions with her fellow
patients, exasperated her condition. "Girl, Interrupted" is a tough
ride and the overall tone of the film lowers my recommendation to a
conditional one -- depending upon the prospective viewer's tolerance
for depressing films. ** 1/2 (out of) ****
"The
Hurricane": stars Denzel Washington as Rubin "Hurricane"
Carter, a championship boxer in the early 60's who was accused and
convicted of murder. The film, directed by Norman Jewison, focuses on
two time periods: first, Carter's early years, covering the petty
crimes he committed before gaining fame as a boxer -- crimes that led
a police detective (Dan Hedaya) to believe Carter, despite his new
social standing, was capable of a senseless crime he had no reason to
commit, and his rise as a boxer and human being, and second, to the
later years when a passionate group of people, including a young,
impressionable teenage boy (Vicellous Shannon) decide to help Carter
fight for release from prison -- a fight, Carter, frustrated by a
corrupt system, had given up years earlier. Jewison, working from a
script from by Armyan Bernstein and Dan Gordon, based on two books on
Carter's life, makes no bones about Carter's innocence -- a stance I
found a little unbalanced (*some* objectiveness would've been
refreshing), but keeps the film well-paced and coaxes two amazing
performances from his actors: from Washington as Carter, a man
justifiably bitter at the world, and from Dan Hedaya, whose deep
hatred for Carter, seemingly based on the color of his skin (Carter's
assertion, amplified by Jewison), leads him to ruin the man's life
and good name. "The Hurricane" isn't a great film but still packs a
solid punch. Recommended *** (out of) ****
"Snow
Falling On Cedars": stars Ethan Hawke as Ishmael Chambers, an
ambitious newspaperman and son of the town's longtime newspaper
editor (Sam Shepherd). The story begins in a period just before World
War Two in the small fishing town of San Piedro off Washington
State's Puget Sound. Young Ishmael is best friends with a young
Japanese-American girl, Hatsue (Youki Kudoh) -- a relationship that
is frowned upon by Hatsue's strict family, and one that quickly turns
into love as the years go on. Ishmael eventually goes overseas to
fight the war and Hatsue and her family are forced into an internment
camp. The young couple breaks apart and Ishmael spends the next
several years yearning for what could've been. Scott Hicks ("Shine")
directed "Snow Falling" with a careful hand, working from a script he
co-wrote along with Ronald Bass (adapting David Guterson's novel).
The adaptation juts back and forth in time (settling in 1954) through
three primary stories: the relationship between Ishmael and Hatsue --
now solely an obsession by Ishmael; Ishmael trying to carry on his
father's newpaper business and the difficulties he encounters trying
to fill his father's legacy; and finally (when the film starts to get
interesting) when Hatsue's new husband, Kazuo (Rick Yune) is accused
of killing a man. Ishmael, realizing the injustice, silently covers
the subsequent murder trial, wrestling with his emotions for Hatsue,
and doing what's right -- what his father always taught him. It's
also at this point when the film introduces its best character: Nels
Gudmunsson (Max Von Sydow), the lawyer who defends Kazuo. Von Sydow
is captivating and nearly rescues the film, elevating it to a higher
level with his performance. "Snow Falling on Cedars" is essentially
*about* the murder trial but can't decide where it wants to place its
focus. Frankly, the story's characters are lifeless and boring
(except for Nels) and the film lacks a definitive direction. The
individual performances are unexceptional, especially Hawke, who
isn't given anything to show his true range. And I wasn't moved by
the murder trial, or even the one-sided love story (we are left to
root for closure -- nothing else). Instead, the film's look
(stunningly lensed by Robert Richardson) is what reminds the viewer
of the inner beauty of the story. That story, filled with forbidden
love, compassion, and honesty, adeptly addresses the problems that
existed for Japanese-Americans during the Second World War, and
captures all the emotions and beauty of the settings of the period,
but ultimately leaves an empty, unsatisfying feeling. I liked the
look of the film and admired its vision, but not its execution. I can
recommend the film based on its heart and feel, but for no other
reason. ** 1/2 (out of) ****
"The Limey":
stars Terrence Stamp in the "title" role as a Brit visiting
the States in search of the person responsible for his daughter's
tragic death. Stamp pairs up with an old friend of his daughter's
(Luis Guzman) who leads him to a music producer (Peter Fonda) who may
have a connection with the death of the young woman. The film,
directed by Steven Soderbergh, mines the same stylish territory as
"Out of Sight" (Soderbergh's previous film) but takes its eccentric
camera's vision to the extreme, multiplying the visual tricks in "Out
of Sight" times ten. The problem is, it *worked* in that film. Here,
Soderbergh chose to inundate us with camera tricks and sometimes
confusing flashbacks -- all for effect, making the film's story
muddled and incoherent. Soderbergh's idea to mix in footage from
"Poor Cow," a Stamp film from over 30 years ago, is clever, but the
director failed to make it really work within the context of the
current story. Ambitious? Yes. Successful? No. Soderbergh is an
interesting director, but like Oliver Stone, he gets in trouble when
he allows his personal style to suffocate the film. His choice of
Terrence Stamp to play the role of the father seemed to be made
strictly because of the use of "Poor Cow" and not for Stamp's acting
ability which is way over the top in this film. The usually
interesting Luis Guzman is given a thankless role and Peter Fonda is
almost background material. "The Limey" is a film that might have
succeeded with a different director and a better lead actor. We'll
never know. Disappointing ** (out of) ****
"Gladiator":
Ah, summer films. Hollywood has been
crankin' out the summer blockbuster for years. There have been some
memorable films ("Jaws," "Star Wars" -- even "Men In Black") but the
well has run dry in recent years. And then along comes Ridley Scott's
"Gladiator," a glorious reminder that Hollywood is still capable of
making a rousing summer film. "Gladiator" is the story of Maximus
(Russell Crowe), a loyal general in the Roman army of Marcus Aurelius
(Richard Harris). Marcus is a dying man and his last wish (conveyed
only to Maximus) is for the loyal general to replace him as emperor;
seen as a way to return Rome to its glory days. Marcus' son, Commodus
(Joaquin Phoenix), a power-hungry, but wimpy leader, has other plans,
and without giving away important parts of the story, forces Maximus
to disappear, only to resurface a bitter man, sold into slavery and
used as a gladiator -- as sport and entertainment at the great Roman
coliseums, where the people and leaders gather to decide the fate of
the participants. Maximus quickly proves himself a worthy competitor
and uses his newly-found hero status as a way to exact revenge upon
Commodus, not for taking over Rome, but for other personal
atrocities. Maximus, with the help of another slave (Djimon Hounsou),
a senator (Derek Jacobi) who wishes to oust Commodus, and an aging
ex-gladiator (Oliver Reed -- in his final role) work his plan to
slowly return Rome to the people.
The story of revenge is a familar one -- in
fact, Maximus' super-heroics (starting from his battle days to his
gladiator feats) recall the typical Rambo-James Bond hero of cinema,
but director Ridley Scott, working from a script by the team of David
Franzoni, John Logan, and William Nicholson, learned from the
mistakes of the films of those characters (and others) and delivers a
beautifully polished product that celebrates the good Hollywood films
-- so rare these days -- instead of shamelessly copying the bad, but
often successful fare that typically permeates our local theaters.
The film is not without its flaws (Commodus' sister, Lucilla, played
by Connie Nielsen, is poorly written) but Scott hasn't been this good
since "Blade Runner." And the cinematography (from John Mathieson) is
memorable, with clear influences from "Days of Heaven" and "Saving
Private Ryan" (particularly its opening battle scene). The film,
however, would not have worked without Russell Crowe as Maximus.
Crowe is mesmerising. His performance and character's mannerisms are
not unlike the parts he played in "LA Confidential" and "The
Insider," but who cares -- give me more! And Joaquin Phoenix
continues to impress. He played the evil, but ultimately wimpy
Commodus perfectly. And fine supporting performances from Harris,
Hounsou, and Reed round out an impressive cast. "Gladiator" is a
summer epic on a grand scale. Recommended highly *** 1/2 (out of)
****
"East is
East": plays like an Anglo-Pakistani version of "Fiddler on
the Roof." George Khan (Om Puri) is a Pakistani man married to an
English woman, living in a Catholic neighborhood in England with
their six sons and one daughter. George and his wife (with help from
his sizeable brood) run a local fish-and-chips shop, while his
children rebel against their father's very strict upbringing. The
latter is based largely on the idea that George's Pakistani childhood
and Muslim beliefs are perfect for his family, who of course, have
their own ideas. George, in an attempt to arrange a marriage for his
gay son (he doesn't know), winds up driving him out of the family.
Two other arranged marriages are attempted for two other sons (a
third son, Sajid, is too young, and too busy recovering from an
unfortunate late surgery to be married off). The daughter would
rather play soccer with the boys, and the older sons would rather
spend their evenings at night clubs with English girls. The children
deliberately celebrate some of the Catholic traditions (and eat pork
products) but are forced to do it behind their willful father's back.
The film, portrayed as a comedy-drama, is filled with hysterical
anecdotes, but sometimes finds itself walking a thin line between
funny and offensive. The latter portion of the film has a dramatic
and sometimes upsetting tone as George's radical ideas (to those
around him) finally drives a violent wedge between himself and his
family. "East is East" is well-directed by Damien O'Donnell and
written in an autobiographical tone by Ayub Khan-Din (adapting his
play of the same name). The performances are excellent, especially
Puri's George, and Linda Bassett as his wife. And of special note is
Jordan Routledge as Sajid, the youngest son who is never seen without
his parka, and who tries (and pretty much succeeds) in stealing much
of this film. See "East is East" with open eyes. It is an often
funny, but sometimes brutal look at a family that doesn't always
agree. Recommended *** (out of) ****
"Where
the Heart Is": stars Natalie Portman as Novalee Nation,
a young, pregnant teenager abandoned by her child's father (Dylan
Bruno) in rural Oklahoma at a Wal-Mart store, where Novalee is forced
to live for six weeks until baby Americus is born. Novalee, because
of the unusual arrangements, becomes a minor celebrity, attracting a
visit from her long-lost mother (Sally Field) who left her daughter
at the age of five for a baseball umpire -- go figure, only to come
back to twist the knife a little further. Novalee is comforted by
Lexie Coop, a nurse at the hospital (Ashley Judd), and befriends a
self-appointed "sister" (Stockard Channing) and the town librarian,
Forney Hull (James Frain), who predictably develops a crush for young
Novalee. The film was directed by Matt Williams ("Rosanne" and "Home
Inprovement") and written by Lowell Ganz and Babaloo Mandel (writers
of various Billy Crystal films), adapting Billie Letts' novel of the
same name. And while the performances (especially from the
*stunningly* beautiful Natalie Portman) were solid, the script was
strictly Hollywood-by-the-numbers. Not enough on Ashley Judd's
character and too much focus on the ex-boyfriend's life after the
abandonment (he left Novalee, so why couldn't the story leave him?).
The half-baked script (written by comedy writers clearly unaccustomed
to adapting sappy material) kept focusing on one uninteresting
turmoil after the other while played freely with the laws of
impossibility (like the laws of nature) and ignoring realities (umm,
aging?). The film does work when Novalee and Forney explore their
relationship, but that wasn't nearly enough. And not to nitpick, but
we were treated at least three times (that I noticed) to
embarrassingly obvious visits from Mr. Boom-mike. What does that tell
you about this film? The actors, especially Portman, deserved better
material. Very disappointing * 1/2 (out of) ****
"The
Virgin Suicides": is an examination of the effect that one
suicide has on a family, its friends, and ultimately, an interested
community. The suicide, by one of five teenage sisters, occurs at the
beginning of the film and sets the tone for next 90 minutes. The
sisters (led by Kirsten Dunst as Lux) are seemingly normal teenage
girls: interested in boys, rock music, and school, but restrained by
their overbearing mother (a very different-looking Kathleen Turner)
and passive father (James Woods), which leads them to -- surprise! --
rebel. The story is told through voiceover narration (Giovanni
Ribisi) by one of the boys who becomes obsessed with the pretty
sisters; all very mysterious and elusive -- and a challenge for the
boys. The film is set in suburban Michigan in the mid-seventies and,
like its film counterparts (the film that comes the closest in tone
is "The Ice Storm"), it mocks the settings and stereotypes of its era
-- so effectively in fact, that it gives the otherwise dark theme of
the story a very comical and satirical feel. Writer-director Sofia
Coppola (daughter of you-know-who), adapting Jeffrey Eugenides'
novel, does an outstanding job creating a proper atmosphere for the
film (aided by a memorable score from the French group, Air), but the
story, while intriguing, lacks a definitive point, and is ultimately
unsatisifying. I give "The Virgin Suicides" a mixed review only
because it's a film with *so* much promise (and a director to watch)
and solid performances (especially from Dunst and Woods) but a dark,
depressing emptiness. See it if you enjoy "California angst" films
;-). A very marginal recommendation. **1/2 (out of) ****
"American
Psycho": This
film takes
place in New York in 1987 and stars Christian Bale as Patrick
Bateman, a vain, materialistic Wall Street yuppie. Patrick's days are
spent grooming himself (literally), comparing business cards with his
associates, and dining at fashionable eateries, while his nights are
spent taking out his frustrations on a host of what he perceives are
"life's degenerates." Writer-director Mary Harron (adapting Bret
Ellis Easton's infamous novel) plays the film like a biting satire.
In fact, we are not sure what to make of Patrick's delusional,
schizophrenic personality, even though he is "supposed" to be a
"psycho." The film is somewhat clever in that Patrick blends into his
society because that is how his associates behave, but this was done
with greater effectiveness in "Fight Club," a film that Harron must
have watched repeatedly while adapting this screenplay. "American
Psycho" is filled with thankless performances from Willem Dafoe
(playing a private detective investigating the "mysterious"
disappearance of one of Patrick's colleagues), Reese Witherspoon
(snobby fiancee), Jared Leto (aloof colleague), Samanta Mathis
(drug-addicted fling), and Chloe Sevigny -- who played Patrick's
personal secretary, in probably the film's best written role. Harron
would've been better off playing this film somewhat straight -- it
might have made sense and given it a point, something the film lacks
-- unless the film's central point is that all 80's Wall Street's
movers-and-shakers were self-indulgent, materialistic yuppies --
hardly enlightening. Very disappointing. * 1/2 (out of) ****
"High
Fidelity": stars John Cusack as Rob Gordon, a thirty-something
owner of Championship Vinyl, a record store in a neighborhood (with a
"bare minimum of window shoppers") in Chicago. Rob, a classic
underachiever, suffering from yet another horrible relationship
breakup (his latest is Laura, played by Danish actress Iben Hjejle)
finally decides to reconcile the reasons why he is so unlucky in
love; compiling a top five list of his most humilating breakups. In
fact, Rob (and his record store buddies) tends to use top five lists
to measure many things in his life. We, the viewers, are treated to a
wonderful narrative from the wry Cusack as he takes us through his
life, his failed relationships, and together we understand why Rob
Gordon is suffering. "High Fidelity" despite its sometimes depressing
negativity towards love, is a romantic comedy at heart. We watch Rob
try to identify his problems while attempting to get back with Laura
and see just why Rob is such a loser when it comes to relationships.
This film is filled with wonderful characters, including the two
record store buddies, Barry and Dick, played by Jack Black (in the
film's best performance -- he is one to watch) and the perfectly
understated Todd Louiso, and Rob's ex-girlfriends, played by Lili
Taylor, Catherine Zeta-Jones, and Joelle Carter, who help him
understand why their relationships failed. "High Fidelity" also
features timely cameos and small roles from Bruce Springsteen, Sara
Gilbert, Joan Cusack (John's sister), Natasha Gregson Wagner, and
Lisa Bonet. The script, written by Cusack and his writing partners
D.V. Devincentis and Steve Pink (who also teamed up for the
underrated "Grosse Point Blank"), from the novel by Nick Hornby, is
sharp, witty, and is aided by fine direction from Stephen Frears.
"High Fidelity" (appropriately) features an incredibly eclectic
soundtrack covering tunes all the way from Love to DeLa Soul. Cusack,
one of our better actors, spends most of the film talking to the
camera -- normally an annoying practice, but he's so wonderful and
has such perfect comic timing, that he is able to make it work.
Overall, "High Fidelity" is a gem of a film. Recommended highly
***1/2 (out of) ****
"Not One Less":
is the latest film from director Zhang
Yimou ("Raise the Red Lantern") and is the story of a 13-year-old
girl, Wei Minzhi, who becomes a substitute teacher for the local
primary school in a poor village in China. The young girl is hired by
the village's mayor when the regular teacher is called away for one
month to tend to his ill mother. The mayor is forced to hire the
inexperienced Wei when he is unable to find anyone else willing to
work in such bad conditions; so poor that chalk is treated as gold
and is strictly rationed. Despite this, the school's regular teacher
promises Wei an extra bonus if she is able to keep the dwindling
class size at its current level -- 28 -- not one less. Wei, coming
from a poor family, uses this promise as motivation, instead of
worrying about actually teaching her young charges; even sitting
outside the door to keep the often rowdy students from trying to
leave. One of her students, ten-year-old Zhang Huike, is forced to
leave the school in order to help his poor family in the city. The
rest of the film deals with Wei's brave attempts to find the boy, and
the conditions she is forced to endure to reach her goal. She also
confronts her own motivations for this journey. Is it greed or good?
The entire cast of "Not One Less" is
comprised of non-professionals, each playing themselves (the mayor in
the story is the actual mayor of the village, etc.) with each
character very similar in social status to that of their real-life
counterpart. In fact, "Not One Less" is essentially an elaborate play
put on by the townfolk, but still manages to deliver a powerful
message about everything from the changes, to the status quo in
China; about the widening gap between the have and the have-nots --
things many of us take for granted here in the States. In an ironic
twist, the young students develop their enterprising skills while
devising a way to raise money necessary to finance Wei's journey to
the city to find young Zhang Huike. "Not One Less" begins slowly, but
as the story -- and the message of the film -- is revealed, we are
powerless to resist its charm. Yimou isn't subtle about his
underlying intentions; the message he wishes to convey, and he never
loses grip on his remarkable little children's film -- that happens
to be set in an very adult world. Recommended highly *** 1/2 (out of)
****
"My Dog
Skip": stars Frankie Muniz as Willie Morris in an adaptation
of the noted author's book on his childhood in 1940's Mississippi.
Willie is a scrawny, bookish child who has difficulties making real
friends, and instead finds a best friend in his Jack Russell terrier
dog -- a gift from his parents (Diane Lane and Kevin Bacon) for his
ninth birthday. Through the dog, young Willie gains confidence,
wisdom and the friendship of the former school bullies and the
attention of the prettiest girl in town. The film's performances are
solid, especially from young Muniz, but the film could do without the
sappy narrative from crooner Harry Connick Jr. (the adult Willie) who
sounds way too young to be relating a story that happened over 55
years ago. The story (adapted by Gail Gilchriest and directed by Jay
Russell) gets a bit whimsical and cliched at times, and doesn't hold
a candle to better films of its genre ("A Christmas Story;" "Radio
Days;" "Stand By Me") but judged on its own merits (as it should be)
"My Dog Skip" is still a very charming family film that deserves a
viewing. The film, despite its flaws, is a breath of fresh air when
compared to some of Hollywood's recent offerings. Recommended ***
(out of) ****
"Boiler
Room": stars Giovanni Ribisi as Seth, a
young go-getter living in the shadow of his judge father (Ron
Rifkin). Seth leaves college to run an illegal blackjack casino out
of his apartment, but to please his disapproving father (who fears
for his own career), moves on to become a stockbroker at a daytrading
firm on Long Island. The firm, J.T. Marlin, is nothing more than a
chop-shop -- a place where fictitious securities are sold to
unsuspecting clients by young hungry men, flush with excitement over
the possibility of earning their "first million within two years" or
so promises the recruiter (Ben Affleck, in an effective but wasted
cameo). Vin Diesel adds some spice as Chris, a young broker who takes
Seth under his wings.
First-time writer-director Ben Younger
manages to do a decent job, and shows promise as a director, but has
to work from under his cliche-ridden script, complete with silly
subplots (but with "valuable" lessons to be learned) like the husband
who gambles his family's life savings (that they need to buy their
dream house) on a hot stock, or the two testosterone-laden brokers
fighting over the affections of the lovely receptionist (Nia Long).
And "Boiler Room" openly goes out of its way to pay homage to "Wall
Street" and "Glengarry Glen Ross," both in the dialogue and in the
style of the film, but fails to rise out of its own TV-movie residue.
The film does benefit from an impressive young cast (especially
Diesel and Ribisi), but lacks the polish of a good film. I couldn't
help but wonder if this film was originally intended for pay-cable,
especially with subplots (Seth playing boy detective to investigate
his suspicions about JT Marlin) that smack of a late-night crime
drama. And the pat "this could happen to you" ending, like "Boiler
Room" overall, was unsatisfying. ** (out of) ****
"The
Cider House Rules": "Sometimes you have to break the rules."
Breaking the rules is the main underlying theme of "The Cider House
Rules," the latest adaptation of a John Irving novel (Irving also
wrote the screenplay to this film). Michael Caine is Dr. Wilbur
Larch, the doctor and head of an orphanage in Maine during World War
Two. And Tobey Maguire is Homer Wells -- Dr. Larch's favorite orphan,
who literally grows up at the orphanage, who now seeks to follow his
destiny out in the real world. Homer's "odyssey" (this would seem to
explain his first name) leads him to Candy (Charlize Theron) and
Wally (Paul Rudd), a young couple who get Homer a job as an apple
picker at a local orchard. While there, Homer lives at a "cider
house" with his fellow apple pickers, who teach him a lot about life
and responsibility. Meanwhile, Wally, on leave from the war to attend
to personal business, goes back to flying fighter planes, leaving the
naive Homer, out in the world for the first time, with Candy, the
girl who can't handle being alone. Predictable results follow, but
not without heartbreak and moral issues. In fact, "The Cider House
Rules" is a film filled with moral issues and crisis of conscience --
the least being the relationship between Homer and Candy.
And how John Irving's story handles these issues is what makes
the film succeed on every level. Make no mistake about it -- this
film was directed by Lasse Hallstrom -- but this is John Irving's
film. He spent fourteen years and four directors trying to get this
film made, and the end result is amazing. I simply cannot applaud his
screenplay loudly enough. Irving has such a knack with developing his
characters; deftly showing all facets of their personalities, and in
the case of the moral issues; showing both sides carefully, leaving
viewers to reach their own conclusions. And we understand Homer
completely; from the naive young boy to the headstrong and wise young
man. Tobey Maguire, who was wonderful in "Pleasantville" IS Homer
Wells. And Dr. Larch, despite his sometimes ugly vocation, shows
weakness and a heart of gold. This had to be a dream-come-true role
for Michael Caine, who runs away with the gift, delivering a terrific
performance -- earning an Oscar nomination for best supporting actor.
The rest of the cast is well-rounded with veterans like Kathy Baker,
Kate Nelligan, Delroy Lindo; the latter outstanding as Mr. Rose, the
head of the crew at the cider house; and the radiant Charlize Theron,
who shines as Candy. In fact, kudos to the much-maligned Academy
(despite "missing" quite a few this year) for recognizing the film's
many virtues and ignoring the controversial themes that would seem to
ordinarily "disqualify" a film for Academy acknowledgment. In fact,
there is no doubt in my mind that "The Cider House Rules" was one of
1999's best films and is richly deserving of all its accolades. "The
Cider House Rules" is a beautiful, compassionate, and very human
film. My highest recommendation **** (out of) ****
"The Winslow
Boy": is the latest effort from noted playwright-turned
filmmaker David Mamet, and is based upon Terence Rattigan's play. The
story takes place in 1910 England and concerns Ronnie Winslow (Guy
Edwards), a 13-year old boy who is expelled from a prestigious
military school because of the belief that he stole and cashed a five
schilling postal note. The young boy is adamant in his innocence, so
much so that his family decides to risk their small fortune to defend
their young boy's honor. What follows is not so much a courtroom
drama, but a drama of the family. Mamet (reportedly following
Rattigan's play nearly word-for-word) focuses on the family events
resulting from the trial, instead of the trial itself. This direction
works for the most part, but *some* courtroom drama would've been
nice. We learn of the Winslow daughter, Catherine (Rebecca Pidgeon),
a headstrong feminist in an era where a woman "has her place," and
the effect the trial has on her engagement to a Naval officer. And we
learn of her father (Nigel Hawthorne) who risks his modest family
fortune -- and his health, to defend the honor of his loved one, but
we learn little of the rest of the family, particularly the young boy
Ronnie (only the title character of this film), his older brother
Dickie, or the mother. In fact, a quibble with the film would be the
repeated focus on the effect the decision to pursue the trial had on
the family finances and their reputation, when more time could've
been spent on the trial itself, and the development of the other
family members. The film gains momentum when Sir Robert Morton
(Jeremy Northam) is introduced as the celebrated lawyer who decides
to take on the Winslow case. The ambiguous electricity that follows
between Sir Robert and Catherine (who have little in common) lights
up this otherwise slow-moving, narrowly-focused, but very literate
film. Northam and Pidgeon are the best thing about "The Winslow Boy,"
which would've more appropriately titled as "The Winslow Family."
Feeling a little cheated, I can only mildly recommend this film.
**1/2 (out of) ****
"Autumn
Tale": is the final film in writer-director Eric Rohmer's
"Tales of the Four Seasons." The setting is France during the fall --
the time for harvesting grapes for 40-something workaholic winemaker,
Magali (Beatrice Romand), and time for her best friend, Isabelle
(Marie Riviere), and her son's girlfriend Rosine (Alexia Portal) to
find the widowed Magali a love interest. The sly and very
happily-married Isabelle places an ad in a local paper, attracting a
salesman named Gerald (Alain Libolt) who thinks he is meeting
Isabelle, but she, in reality is just a screener for Magali, who
knows nothing about the setup. Meanwhile, the younger Rosine, who
cares more about Magali than her boyfriend, decides to kill a couple
of birds with one stone and tries to match Magali with her old lover
and college professor, Etienne (Didier Sandre) -- one, to help her
forget about him, and two, to keep Magali as a part of her life since
she doesn't plan to keep her son as a boyfriend. Got all that? The
plot seems like a comedy, but Rohmer's film has an air of
authenticity that is missing from most films. He keeps his characters
simple but intelligent, and the dialogue real. And the result is a
charming little film filled with wonderful performances (especially
Romand and Libolt). "Autumn Tale" takes a while to unwind its story,
but like the grapes (and Magali and Isabelle) that are a large part
of the story, "Autumn Tale" improves with age. Recommended highly
***1/2 (out of) **** (Video)
"Topsy-Turvy":
is the story of William Gilbert (Jim Broadbent) and
Arthur Sullivan (Allan Corduner), and their lives surrounding their
operettas, "Princess Ida" and primarily, "The Mikado." The film
starts very slowly, but soars when the story reaches "The Mikado,"
the duos' 1885 operetta. Writer-director Mike Leigh, well known for
his rehearsal style of directing, cooks up a doozy of a
rehearsal-within-a-rehearsal during the mid-way point of the film, as
the actors prepare for opening night of "The Mikado." This part of
the film is spectacularly entertaining -- absolutely delightful, and
in my mind, the best sequence of this wonderful film. And I wanted to
stand up and applaud the opening night sequence of "The Mikado." And
the acting? Oh, the acting! Jim Broadbent as William Gilbert is a
revelation, as is Lesley Manville, as Gilbert's wife, Lucy -- the
glue that holds together Gilbert, and the secret inspiration behind
his genius. Timothy Spall as Temple (and the lead in "The Mikado") is
exceptional and deserves award recognition for his role. Overall, the
entire troupe is terrific in their roles. Leigh does a solid job of
balancing the film (despite the slow opening), and developing his
characters -- even some of the lesser roles, but I would've liked to
see more on the relationship between Sullivan and Gilbert, who are
examined separately, but not enough together -- in fact, their
collaboration on "The Mikado" is scarcely explored. This is a minor
point and does little to detract from this marvelous film.
Recommended highly. ***1/2 (out of) ****
"Run Lola
Run": is the story of a young woman, Lola (Franka
Potente) who is late in picking up the boyfriend, Manni (Moritz
Bleibtreu), a bagman for a drug dealer. Lola's tardiness causes Manni
to panic, leaving a bag containing 100,000 marks on a train. Manni
now has 20 minutes to come up with 100,000 marks or *he* becomes
marked. Lola, ever the devoted girlfriend, and feeling guilty,
literally races (and races, and races) against time in order to save
her boyfriend. What follows is 81 minutes worth of adrenaline, as
filmmaker Tom Tykwer takes us on a pulsating journey into the land of
what if. Tykwer's style appeals to the MTV generation, but isn't
overwhelming and conforms neatly to the themes of the film.
Especially notable is the touching relationship between Lola and
Manni, who clearly are deeply devoted to each other. "Run Lola Run"
is great fun and to elaborate further would risk revealing the inner
delights of this thoroughly original and very entertaining film.
Recommended highly ***1/2 (out of) ****
"All
About My Mother": is the latest film from Spanish
writer-director Pedro Almodovar and stars Cecilia Roth as Manuela, a
mother who recently lost her only son (Eloy Azorin) to a hit/run car
accident. The grieving Manuela decides to honor her son's wish by
returning to Barcelona to locate the boy's father whom she hasn't
seen since before the son was born. She quickly reunites with an old
friend, Agrado -- a transsexual played wonderfully by Antonio San
Juan, who introduces her to a nun (Penelope Cruz) who is pregnant and
in desperate need of care and companionship -- something Manuela, a
trained nurse, can provide. Manuela soon finds work as the personal
assistant for an actress (Marisa Parades) who befriends the still
distraught Manuela as she continues the search for her late son's
father. Despite the film's seemingly offbeat nature, it doesn't draw
special attention to its "unusual" characters, choosing instead to
weave its story around compassion and caring for one's fellow man.
Almodovar fills his story with warmth, passion, and a distinct irony
(a consistent theme), mixing in a clear love for older films ("All
about Eve," "A Streetcar Named Desire") and using these devices to
great effectiveness as he tells his tale. Almodovar's script and
direction are flawless and his cast brilliant -- from Cecilia Roth's
anguished mother, to the lovely Penelope Cruz's turn as the sad
Sister Rosa, the pregnant nun. "All About My Mother" is a wonderful
film and one of 1999's best cinematic efforts. My highest
recommendation **** (out of) ****
"Magnolia":
is an ensemble film that takes place in modern day San
Fernando Valley. The film is a series of interconnecting stories
involving a dying man (Jason Robards), his unstable wife (Julianne
Moore), estranged son (Tom Cruise), and his dedicated nurse (Philip
Seymour Hoffman), a game-show host working for Robards' production
company (Philip Baker Hall), the game-show host's wife (Melinda
Dillon), their drug-addicted daughter (Melora Walters), and the
police officer who falls in love with her (John C. Reilly); as well
as a young whiz-kid contestant (Jeremy Blackman), and a washed-up,
former game-show contestant (William H. Macy). The film opens by
showing a series of freak occurrences and coincidences that happened
many years earlier and (for the most part) are unrelated to the film
but set up the many themes of the film which include freak
occurrences and the parallels in human lives. "Magnolia" is partly
about fidelity and infidelity; obsession and addiction, but mostly it
is a film about the importance of family.
The film was written and directed by Paul Thomas Anderson
("Boogie Nights") with precision care and pacing. The first half is
fast-paced and loaded with energy, with many of the characters
rushing through (and shouting) their dialogue, while the second half
spends its time tying together the complicated stories. Anderson's
use of music (by Jon Brion, with songs by Aimee Mann) is especially
effective, and he (once again) gets the maximum from his talented
cast -- so much so that I almost don't know where to start. Tom
Cruise is wickedly wonderful as the estranged son, who earns his
living as a sleazy infomercial star. And Philip Baker Hall is
riveting as the complicated game-show host. Performances by some of
the "sad" characters like Melora Walters and Julianne Moore, were
excellent. Anderson (one of cinema's great young writer-directors)
created so many wonderful characters like Macy's aging whiz-kid, a
memorable barfly played by Henry Gibson, and a youthful rapper whose
song ties together another story. "Magnolia" also featured one of the
most moving scenes in memory -- a sequence involving a song sung by
each of the film's principle characters -- not together, but in
separate, perfectly-cued order. The lyrics to the song fit neatly
together with the themes of the film, and the effect isn't the least
bit forced and is quite stirring; so stirring that I'm not ashamed to
admit it moved me to tears. "Magnolia" is a deeply involving,
complicated film that may require more than one viewing in order to
unravel its many layers and complexities, and to figure out all its
metaphorical puzzles, including the film's title, which seems to
symbolize its many different "petals" or characters, who together
form a beautiful flower, and the ending, which is quite bizarre, but
like the film in many respects -- very original. I suspect my own
subsequent viewings of this brilliant film will be very rewarding. My
highest recommendation **** (out of) ****
"The
Talented Mr. Ripley": is the story of a disturbed and very
possessive young man (Matt Damon as Tom Ripley) entrusted by a rich
tycoon to bring his son, Dickie Greenleaf (Jude Law), back to America
from Italy, where the young Greenleaf is living the high life. The
lonely Ripley soon finds himself attached to Greenleaf and his
playboy lifestyle, and will do anything to gain acceptance into his
life -- including assuming Greenleaf's identity and killing anyone
who gets in his way. Gwyneth Paltrow (Greenleaf's girlfriend, Marge
Sherwood) and Philip Seymour Hoffman (playing his best friend,
Freddie Miles) each suspect there is more to Ripley than meets the
eye. The film's script (adapted by its director, Anthony Minghella,
from the novel by Patricia Highsmith) focuses on the slippery Tom
Ripley and how his clever ruses mask his true identity, but fails --
miserably -- to bring the film's other characters to light. Damon's
Ripley is fairly well-written (and neatly tied up in the film's
otherwise unsatisfying ending), but the characters of Dickie
Greenleaf (Law), Marge (Paltrow), and Freddie (Hoffman) are very
incomplete. Paltrow is nothing but scenery in this film, which is a
shame considering her talents. Her role could almost be
interchangeable with the equally underused Cate Blanchett (playing a
rich socialite with a dangerous attraction to Ripley). And this
viewer wanted to see more from Hoffman, one of today's greatest
character actors. Jude Law's portrayal of Dickie, while excellent,
leaves the viewer wanting more. "The Talented Mr. Ripley" has much
going for it: a promising premise, a good director, and a very
talented cast, but had to work from an under-developed script that
limited the final product. ** 1/2 (out of) ****
