Twillhead Reviews

Dreamcatcher (2003)

Sometimes Scary, More Frequently Silly

[6/10 · 9 December 2004]

It boggles the mind how a film can be nightmare-inducing in one moment and moronically silly in the next, but that is indeed what "Dreamcatcher" seems to achieve. Still, I admit that I genuinely liked the main characters (Andrew Robb as the young Duddits broke my heart) and I thought the acting was, for the most part, quite good (the exceptions: Thomas Jane, handsome and hunky notwithstanding, could stand to develop a personality, and Morgan Freeman, who usually lends a touch of class to whatever film he is in, is pretty disappointing -- Dude, what's up with them eyebrows?!). I always enjoy Jason Lee -- and he has one or two moments of real hilarity in this movie -- and Timothy Olyphant was sweetly endearing, but I was most impressed with Damian Lewis as Jonesy, who pulled off a pretty neat duality trick (I think the gimmick itself was cheesy, but Lewis managed to maintain his professionalism in the process). Not having read the book, I also enjoyed the idea of Jonesy's "Memory Warehouse" and the shots of him looking out of it at himself and onto some of the ensuing action. Positive comments aside, this film is an expensive mess, which is a bit shocking since one expects more from the likes of Lawrence Kasdan and William Goldman. Shame on you two for the ridiculous ending!

Band of Brothers (2001)

Nothing Short of a Masterpiece

[10/10 · 11 November 2003]

As an avowed pacifist, I normally shy away from war movies, and have to be coaxed into watching a good one by someone who knows my tastes in films (i.e. "The Thin Red Line," which blew me away). Finally breaking down under the pressure of friends, I rented "Band of Brothers," and surprised even myself by watching the entire series in one sitting. Riveting, eloquent, evocative, stark, gritty, and often times a testament to bloody hell, "Band of Brothers" is a magnificent retelling of the elite group of paratroopers comprising Easy Company, 506th Regiment of the 101st Airborne Division, United States Army, who began their incredible journey dropping from the sky in an unimaginable hail of parachutes into Normandy on D-Day, June 6, 1944. What follows is a breathtaking account of their numerous battles, victories and defeats, and of the crippling injuries endured and of the lives lost on the battlefield. Each segment opens with interviews by actual survivors of Easy Company, each recalling a moment or articulating a remembered feeling, their elderly eyes alight with a memory, or awash with tears. Superb acting by each and every member of the massive ensemble, including Scott Grimes as the likable and ever-cheerful Donald Malarkey, Donnie Wahlberg as the stalwart Lt. Lipton, Ron Livingston as Capt. Nixon, and Frank John Hughes as the wise-guy "Wild Bill" "Gonorrhea" Guarnere, to name only a few. At the helm of the troop is Maj. Richard Winters; in an extraordinary, understated performance by British actor Damian Lewis, Winters is a true leader – quietly courageous, imbued with inherent compassion and a heroic sense of humanity. There are so many stunning moments in the series that it is impossible to single one or two out. Suffice it to say that "Band of Brothers" is impressively mounted, to grossly understate the case, and is wonderfully tied together with a majestic, haunting, goosebump-inducing score composed by Michael Kamen. This series is nothing short of a masterpiece.

Contact (1997)

See It! With Some Admonitions (Sorry!)

[8/10 · 18 October 2003]

'Contact' is arguably a fine film, the real star being the superb photography and special effects, with a jaw-dropping opening sequence that runs 3 and ½ minutes long and astonishingly, magnificently sets the tone for the rest of the picture. I was also intrigued by the film's handling of science and faith (read: NOT "religion"), and the interesting juxtaposition of both by film's end. The first climax of the film, in which Jodie Foster as the brilliant Ellie Arroway makes an incredible journey, is eerily, achingly beautiful, followed quickly by the second climax of the film, Ellie's disquieting but deeply-felt epiphany. To say any more would ruin the story for those who have yet to see the movie. That said, Foster's performance was uncharacteristically out of focus – she utilized one too many of her stock-in-trade 'pained and confused' facial expressions that read (at least to me) as if the character was constantly vacillating her position inside of her head, an attribute Ellie would decidedly not possess. Her gaze should have been straight-forward, determined, and unwavering. Matthew McConaughey as Palmer Joss was sincere but a little bit too hunky to be believable. A character bestowed with such a spectacular name would have been much more realistic if he had been played with the plain ambiguity of William H. Macy. Of course that would undermine the obligatory sexual tension and negate the fatuous 'romance,' a plot point that adds absolutely zilch to the story. Since the film indicates from the very start that it is in possession of a serious-minded agenda, I can only guess the producers felt the romance was either necessary to establish the frailty and humanity of Ellie, or, more likely, as a form of selling out, a pandering affect to draw in a larger audience. Stock characters rounding out the film, portrayed by Tom Skerritt, James Woods, David Morse, and William Fichtner (and a teeny-weeny role by Rob Lowe), are solid and well-done. **SMALL SPOILER** The character of S. R. Hadden, played with straight-faced solemnity by John Hurt, might have looked good on paper, but comes off as unintentionally, embarrassingly hilarious. As the obscenely wealthy benefactor who assists Ellie in her quest, he is first seen in his private jet, which he keeps in constant flight, presumably landing only to refuel before soaring off again (okay, I can suspend my disbelief long enough to buy that). But when next Hadden contacts Ellie, it is, unbelievably, ridiculously, from aboard the space station Mir -- the gentleman is now apparently cancer-ridden and prolonging his now-tenuous life in outer space. Nothing else in the entire film stretches credulity more than this; it is shocking in its absurdity. **END SPOILER** After all is said and done, I gave 'Contact' 8 out of 10 points. If for no other reason, the film's beginning and ending are worth alone the price of admission (or rental, as it were).

Priest (1994)

Powerful, Emotionally Harrowing

[10/10 · 29 August 2003]

The striking opening sequence of 'Priest' depicts an enraged elderly cleric, having learned he is being pushed into retirement, utilizing a large crucifix as a battering ram and raiding the offices of the bishop; the climax of the film is one of the most powerful, emotionally shattering scenes I have ever seen, imbued with forgiveness and redemption and humanity at its shining, courageous best, in the face of humanity at its self-righteous worst. In between is a searing indictment of the outdated practices of the Catholic Church and its breeding of intolerance and hate. Father Greg Pilkington (portrayed with astonishing clarity and mesmerizing, gut-wrenching passion by Linus Roache) is a young, idealistic priest who is more than a little put-off by his unorthodox partner, Father Matthew Thomas (a wonderful performance by the great Tom Wilkinson), who sings karaoke at the neighborhood pub and sleeps with the housekeeper. But Father Greg's smug little world soon begins to spin out of control as he attempts to deal with his own homosexuality and with a heartbreaking secret learned by him in the confessional. Roache's breathtaking performance is palpable and eloquently harrowing as Father Greg becomes more and more tortured by guilt and grief. Also in the film, in a winning, endearing turn, is Robert Carlyle (one of Wilkinson's cohorts in 'The Full Monty') as Graham, the object (and the victim) of Father Greg's affection. 'Priest' is a remarkable and revelatory piece of work, intelligent and gripping and deeply felt. Highly, highly recommended.

The Hudsucker Proxy (1994)

Frank Capra on Crack

[23 August 2003]

'Hudsucker Proxy' is early Coen Brothers, paying a hypertensive homage to the films of Frank Capra and Preston Sturges, in an over-the-top film that very nearly works. When Waring Hudsucker (Charles Durning), founder and president of Hudsucker Industries, inexplicably hurls himself from the 44th floor of his wildly successful company, the fatcats in the boardroom are faced with a dilemma: because Mr. Hudsucker has no heirs, the company will go public on the next January 1. Unable to collectively procure the high-priced stock themselves and thus losing controlling interest, a fiendish plan is devised by company Vice President Sidney J. Mussburger (played with delightfully evil glee by the great Paul Newman) – promote a know-nothing nobody into the role of president and watch the stock price plummet. Enter Norville Barnes (Tim Robbins), a gangly, wide-eyed optimist with a dream in his back pocket, and Hudsucker has its 'proxy.' Everything proceeds as planned until Norville surprises everyone by introducing his idea to the world, and the stock prices soar upwards. Mussburger encounters a new challenge – how to rid Hudsucker Industries of Norville, its new shining star. Visually eye-filling and impressive, when 'Hudsucker Proxy' is working, it's laugh-out-loud funny, which is much of the time. Tim Robbins brings great warmth and gentle naiveté to his role as Barnes; on the flip side is Jennifer Jason Leigh as the Pulitzer-winning reporter who ultimately falls for Norville, affecting a poor, ill-conceived imitation of Katherine Hepburn, ultimately coming off as shrill and unlikable. Regrettably underused is Bill Cobbs as Moses the Clockman, who helps ground the story and keeps it from becoming too silly. Otherwise 'Hudsucker' is a mad romp that moves quickly and is genuinely heart-warming. I gave it 8 out of 10 stars.

Secretary (2002)

'Secretary's Chief Strength is an Incredible Maggie Gyllenhaal

[10/10 · 20 April 2003]

**Possible Spoilers** Although the pacing of the film is uneven, and the supporting characters aren't much more than cardboard cutouts, the strength of 'Secretary' rests on solid direction and on the two actors in the leads, in particular Maggie Gyllenhaal; her performance as Lee Holloway is breathtakingly courageous, inspired and transcendent. Her transfiguration from the dumpy, neurotic self-mutilator, with large, plaintive eyes, into the magnificently self-aware sexual creature Lee becomes, is due in part to great makeup and hairdressing achievements, but is mostly manifest in Ms. Gyllenhaal's body language and physical presence, and her unique abilities as an actor. Lee Holloway, who freely admits to enjoying boring work, is hired as a typist by a dark and tormented lawyer, E. Edward Grey, portrayed by James Spader, who is both creepy and heartbreaking in this equally strong performance. Mr. Grey alternately brow-beats his new employee without mercy and treats her with great empathy, the transition occurring like a light switching on and off. This behavior eventually culminates in Mr. Grey spanking Lee for committing several typographical errors; and suddenly the floodgates open for both. The spanking isn't offered as comical, but for what it is: degrading, painful, and, incredibly (what the fetishists have known all along) an inherently intimate act. As a result, Lee and Mr. Grey enter into a symbiotic relationship that is at once outrageous and charming. While 'Secretary' isn't a perfect film, Maggie Gyllenhaal's performance is. Highly recommended.

Minority Report (2002)

Potentially Great Film Falls Flat

[5/10 · 23 February 2003]

By the end of "Minority Report," I felt cheated that a wonderful premise, fraught with social and political ambiguity, and the makings of a potentially great film, so completely, tragically missed its mark. It is difficult for me to believe that this is the film Spielberg wanted to make. It is visually interesting, if self-consciously so, but there is little substance behind the high-tech crap. And moments of 'levity'--inserted, I suppose, to occasionally lighten up the tone of the film--is sophomorically, embarrassingly silly (small SPOILER: like Tom Cruise chasing after his runaway eyeballs). The only aspect that was, for me, mildly engaging was the plight of the "precogs," especially Agatha, movingly portrayed by Samantha Morton. The only other performance of note is by the wonderful Tim Blake Nelson (of 'O Brother, Where Art Thou?' fame), who certainly knows how to make the most of a small role. The rest, even the great Max von Sydow, cannot rise above the clumsy script and even clumsier direction (sorry, Steven). Dashing Tom Cruise slaps on a face of grim determination and tries to pass it off as acting. Colin Farrell, equally dashing and determined, pulls off a Javert-like performance that is solid, if not illuminating. (One more possible small SPOILER) The happily-ever-after ending was especially annoying to me, and persuaded me from a passive "oh-well-you-can't-win-'em-all-Steven" attitude to an active dislike for this unbelievably sloppy film. ** out of *****.

Lilies (1996)

Quietly Stunning

[10/10 · 13 September 2002]

This is a film of rare and astonishing brilliance, and unlike anything I personally have ever encountered before. It is exquisitely photographed and edited, and the acting is first rate all round. The all-male cast portraying both men and women might be off-putting for some, but it is performed so expertly that one forgets this detail - it is a film that magnificently transcends gender. In particular is Brent Carver's resplendent turn as the `mad countess,' the gentle, guileless mother of one of the young heroes. The story is a heartbreaking tale of love, jealousy, and ultimately, of Judgement Day, of the Day of Reckoning. That its storyline is about gay love should not put off heterosexual film goers, because the theme is timeless and universal. A bold and brilliant ‘must see.'

Moulin Rouge! (2001)

You'll Either Love It or You'll Hate It ...

[9/10 · 3 March 2002]

... because I cannot imagine feeling neutral about this film. I happened to love it, although I admit that it took me fifteen to twenty minutes to adjust to its frenetic pacing, its farcical tone, and its fanciful melodramatic presentation. 'Moulin Rouge!' is a film to contend with; its images are sometimes spectacularly beautiful, at other times dark and nightmarish. It looks like one or all of the following could have directed it: Stanley Kubrick, David Lynch, Orson Welles, and Bob Fosse. Set in 1899 in the Montemarte section of Paris, during the rise of the bohemian movement and awash with colorful characters, savory and unsavory, 'Moulin Rouge!' is the retelling of the famous 'Camille' story (a.k.a. 'La Boheme', a.k.a. 'Rent'). At the heart of the famous Moulin Rouge nightclub is the fabulous Satine, a courtesan of unbelievable beauty and renown, performed with lusty opulence by Nicole Kidman. Satine is being pursued by two men--a rich and worldly Duke, played by Richard Roxburgh, who all but twirls his moustache around his finger as evil epitomized; and by Christian, a naïve and penniless writer, played in a winning performance by Ewan McGregor, who instantly gains the audience's empathy with his large and expressive, aquatic eyes. Satine needs the financial backing that the Duke can provide to assist her in becoming a real actress, but falls in love with Christian, who captures her heart with his simplicity and his idealized concept of love. Early on the audience learns that Satine is consumptive, thus setting the stage for light farce transfiguring itself into rich tragedy. The costumes are wildly extravagant and gorgeous; the sets sensual and voluptuous--fantastical buildings and exquisite skylines that, at first glance, look as if they were conceived by a psychopathic drag queen on a hit of acid. But the backdrops are in themselves necessary characters to this eye filling production. The songs--most of which will be familiar to the MTV generation--are magnificently arranged and are given new meaning by their context in the movie; you will never hear them quite the same way again. McGregor's surprising vocal talent--at times a soft and delicate delivery, at other times surging and strong--gives new life to Elton John's 'This Is Your Song'. It is a scene as joyful and uplifting as watching Gene Kelly singing and dancing in street puddles in 'Singing in the Rain'. Kidman's voice is a bit thin and breathy, but she more than compensates for it with her astonishing abilities as an actor, and is delightful in the clever combination of 'Diamonds Are A Girl's Best Friend' and 'A Material Girl'. A Carmenesque, flamenco-stylized version of The Police's 'Roxanne' is dangerous and spine tingling. Perhaps the most outrageous treatment of our recent pop past is of Madonna's 'Like A Virgin'; it is reminiscent of the title scene from 'Hello Dolly!', hilariously overblown, complete with dancing and singing waiters. Like I said, this film isn't for everyone. Many will be put off by the apparent overacting of the cast, misunderstanding the intentional quality of melodrama that is inherent in the concept of the overall piece, and by its lavish cacophony which gives the film its carnival-like feel. It is, in the end, a beautifully realized, intentionally bohemian enactment of an oft-told bohemian tale--at its core is the movement's motto: 'Truth, Beauty, Freedom, Love.' Who could ask for anything more? A triumph.

A Beautiful Mind (2001)

Searing and Splendid

[28 February 2002]

‘A Beautiful Mind' is not, in the end, the greatest film ever made, not by a long shot--but it has two incredible assets: director Ron Howard, and, most especially, actor Russell Crowe. Experiencing first hand the exquisite horror of schizophrenia is Mr. Howard's contribution to his audience; embodying its terror, hand-in-hand with the subject's absolute genius, is Mr. Crowe's. The supporting cast is excellent in their own rights, especially Jennifer Connelly as Nash's uniquely supportive wife, and Paul Bettany as Charles, Nash's roommate and friend from his days at Princeton. To comment further on the actual particulars of the film would risk spoiling the action for those who have not yet seen it, so on that point I cease and desist. It is Hollywood's latest `bad boy' upon whom I now focus attention. The role of John Nash is Crowe's apotheosis as an actor: it is a mesmerizing performance, rich with physicality and expertly executed--in Crowe's hands, Nash is awkward and arrogant and tormented, rendered so both by his illness and by his brilliance. And yet he becomes the unlikely hero for whom we cheer. Make no mistake about it--this is Russell Crowe's triumph, a glowing recorded accomplishment that unfortunately might be the yardstick from which he is measured in the future. I say ‘unfortunately' only because it seems a monumental hurdle to overcome--it is The Role of a Lifetime, for which Mr. Crowe, as evinced in previous films, was most assuredly up to the task.

The Shawshank Redemption (1994)

A Perfect Gem of a Film

[10/10 · 14 February 2002]

Having just seen this wonderful movie, the question I ask myself is this: why in the world did I wait so long?? Based on a memorable short story by Stephen King, 'Shawshank' is a quietly brilliant parable about hope and perseverance and, yes--as stated in the title--'redemption.' Tim Robbins gives a beautifully understated performance as Andy Dufresne, a well-to-do banker sentenced to two double life terms in prison for a murder he did not commit. At first quiet and introspective, Andy slowly emerges as silently headstrong, resourceful, and filled with a sense of humanity that transforms not only himself, but his fellow inmates as well. Most effected by Andy's presence is his prison friend and ally, 'Red' Redding (played with a superb weathered dignity by Morgan Freeman), who acts not only as the narrator and Greek chorus in the film, but also as the collective conscience of the inmates themselves. Although the 'Mean Warden' might seem a stock character in prison films, Bob Gunton gives the role a new benchmark, oozing evil with every tight-lipped glare and succinctly uttered syllable. Having read the story by King several years ago, I knew the outcome, but, watching the movie, it was no less wonderful and gratifying when it arrived. The 'double ending' of this film--that is to say, what becomes of Andy and Red in turn--leaves the audience trembling with satisfaction and pleasure: redemption only comes with honesty; hope is eternal; and music (be it Mozart or Hank Williams) is magic. For those who have not yet seen it, 'The Shawshank Redemption' is a 'must see'--for those who saw it years ago, take another visit. And then, during the closing credits over Thomas Newman's lovely score, do what I did--applaud.

Nurse Betty (2000)

More Disturbing than Entertaining

[4/10 · 3 February 2002]

The premise of 'Nurse Betty' is this: after witnessing the violent murder of her husband, an emotionally traumatized and seriously disturbed young woman drives 2,000 miles in a delusional state, tracking down the man she believes to be her ex-fiance, who is in fact a character on her favorite soap opera. Meanwhile her husband's killers are in hot pursuit of her, with the intent to murder her as well before she is able to identify them to the police. Does that sound like the makings of wacky hilarity?? Sorry, it didn't work for me. The Coen brothers may have been able to pull this off, but this is an unfunny situation rendered annoying by Chris Rock's ranting all the way through the movie. Renee Zellweger as Betty does an admirable job with some pretty sorry material--she remains innocent and appealing throughout this mess. That Greg Kinnear's character, when confronted with being the object of Betty's obsession, believes for over three days that she is auditioning for a role on his show and doesn't recognize her mental instability strains the belief system of even the most credulous viewer. Morgan Freeman has the best time of it in this film--his character is interesting, inasmuch as he begins to fall in love with the woman he has set out to kill. WARNING: The murder of Betty's husband at the beginning of the film is pretty gruesome and, in my opinion, gratuitously violent. SPOILER: I actually felt like cheering when Chris Rock was shot to death at the end of the movie. If bad acting were a capital offense, Chris Rock would be on death row.

O Brother, Where Art Thou? (2000)

The Coen Brothers Triumph Again!

[10/10 · 2 February 2002]

'O Brother, Where Art Thou' is a gleeful retelling of Homer's 'Odyssey', set in 1930s Mississippi and rampant with splendid quirkiness that is the trademark of the brothers Coen. Three hapless convicts make their escape to find treasure--and more than their share of adventure--in this delightful film. George Clooney is in fine, ingenuous form as the chatty, amiable leader of the trio; but the real acting kudos go to John Turturro and Tim Blake Nelson as his goofy but lovable cohorts, dubbed the 'Soggy Bottom Boys' by Clooney's character after they receive baptism by full immersion in a river. The three cut a record under that homespun nom-de-plume for the cash, and unwittingly become overnight sensations with veritable 'rock star' status. The film is accompanied by enough music and songs to almost qualify it as a musical. And there are some incredible feats of film-making here: the scene at the KKK rally is a real doozy, and is so similar to the scene when Dorothy's friends rescue her from the witch's castle in 'The Wizard of Oz' that it almost amounts to cinematic plagiarism. And what an amazing work of plagiarism it is! Without giving away the ending, I must say the climax of the movie is one of the most breathtaking sequences put to film in recent memory (on a par with the spectacular finale of 'Magnolia', another one of my favorites). 'O Brother' is a must-see, a perfect 10!

Best in Show (2000)

Laugh-Out-Loud Hilarity

[9/10 · 8 December 2001]

The brilliant Christopher Guest (sharing writing credits with Eugene Levy) bestows upon us another comic gift with his 'Best in Show', a hilarious send-up depicting the behind-the-scenes world of professional dog shows, and the goober parade of pet owners who lovingly, if exploitatively, enter their prized pooches in such august spectacles. In an ironically telling touch, the dogs themselves are offered up for what they are--champion animals, first-rate and beautiful. Guest and Levy wisely chose to poke fun not at the canines, majestic animals all, but at their fallible human masters, who are sometimes sweet in their goofiness (like Harlan Pepper, the genial proprietor of a bait-and- tackle-shop and part-time ventriloquist, played with likable sincerity by Guest himself) to downright detestable (Hamilton and Meg Swan, performed with neurotic nastiness by Michael Hitchcock and Parker Posey, who project their own hang-ups and frustrations upon the poor creature that is their dog). Other noteworthy performances are given by: Michael McKean--and John Michael Higgins in particular--as an uproarious gay couple, proud owners of Shih Tzus named Agnes and Tyrone and all the frou-frou inherent therein; Jennifer Coolidge as Sherri Ann Cabot and her dog handler Christy (a very straight-forward, hilarious performance by Jane Lynch), and their pride-and-joy poodle named 'Butch'; and most especially by Fred Willard as Buck Laughlin, whose side-splitting running commentary of the dog show is matched only by Jim Piddock as Trevor Beckwith, who proffers one of the most brilliant jobs of straightmanship captured on film in recent memory. This film is not for everyone, especially those weaned on such 'comedy' films as 'American Pie' and 'The Water Boy.' Its pacing is slow and smart, and--apparently one of Christopher Guest's chief loves as a filmmaker--background stories and relationships are provided to help flesh out the characters, and to help us better understand their motivations. 'Best in Show' is just that--a winner.

Gods and Monsters (1998)

Astonishing Film!

[10/10 · 24 November 2001]

Gods and Monsters' is film-making at its best, depicting the final days of James Whale, a complex and complicated man, famous for directing the first two 'Frankenstein' films and the original movie version of 'Showboat.' Exquisite performances are given by the great Sir Ian McKellen as Whale, who executes every nuance, every witticism, every emotion, with a perfection that is little short of incredible; Lynn Redgrave as Hanna, Whale's formidable but devoted housekeeper; and Brendan Fraser, in a wonderfully humane acting turn as Clay Boone, Whale's hunky grounds keeper, who is unwittingly and inexorably drawn into Whale's ever-increasingly confused and confusing world. Whale's initial interest in Clay is sexually motivated, but the relationship becomes much more labyrinthine for both men than is originally bargained for. But the real 'stars' of this movie are the direction (Bill Condon, who also wrote the screenplay) and the cinematography, producing visuals that are often haunting and infinitely memorable, especially during the flashback sequences and in the metaphorical "monster" scenes. One of my favorites is a scene in which Fraser gazes at his own reflection in a sink filled with water--it's a breathtakingly fragile image, shivery and shimmering and achingly delicate, and it seems to suggest at something much deeper and far-reaching within Clay himself. This is a film filled with such images and subtext--dreamlike, poetic touches, superimposed within the structure of an otherwise 'conventional' story. Superb.

The Spanish Prisoner (1997)

Like Hitchcock for English Majors

[9/10 · 16 November 2001]

Exquisite David Mamet dialogue distinguishes "The Spanish Prisoner" from others of its genre--and yet the respect for language is both a blessing and a curse for this film. It is often stilted conversation that the actors are asked to deliver, but they all do it expertly, engagingly, and with a unique understanding of their own peculiar piece of the intricacies of the movie's puzzle. The twists and turns are myriad and mind-boggling, and a certain amount of disbelief needs to be suspended to thoroughly enjoy this thriller, but it's worth it for those who are up to the task. Kudos to all the actors, but especially to Campbell Scott for a marvelously complex, understated, internalized performance as the poor, good-natured, over-educated shmuck who can literally `trust no one' as he is haplessly drawn into a world of intrigue and deception. A fun ride!

The Gift (2000)

Predictable Story, Wonderful Performances

[9/10 · 3 November 2001]

The plot of "The Gift" is a curiously compelling mixture of human pathos and paranormality, albeit admittedly somewhat predictable. What makes this film interesting and noteworthy is: the beautiful southern backdrop, abrim with Spanish moss, full moons and photogenic bayous; the quietly matter-of-fact handling of one woman's extrasensory abilities; a sterling cast rising to the occasion by instilling a level of truth and integrity to their performances. Cate Blanchett, at the helm of this remarkable ensemble, is soft-spoken and restrained as Annie, whose 'gift' suddenly immerses her into the vortex of a dark and dangerous place, which she confronts with rectitude, compassion, and courage (arguably foolishly or not). Keanu Reeves is appropriately menacing and despicable as the villain of the piece (I'd be surprised if he didn't base his character on DeNiro in 'Cape Fear'), unleashing his rage most frequently on his hapless wife, portrayed by Hillary Swank with wide-eyed, bayou-backward conviction. Greg Kinnear, quickly becoming one of my favorite actors of this era, professionally fleshes out a somewhat thankless role with warmth and sad-eyed sincerity. That the victim of the story (lustily played by Katie Holmes) is a debutante-harlot seems somewhat misogynistic (the implication being that she got what she deserved), and it is my only real qualm with the movie. Most astonishing, however, is Giovanni Ribisi's amazing portrayal of the psychologically disturbed Buddy, who seeks advice and redemption from Annie, and whose torment and anguish in the face of his inner demons is palpable. It is a richly textured and heartbreaking performance, and should have certainly earned Ribisi an Oscar nomination. Mostly because of the script, 'The Gift' is not a great film, but earns high marks for sharp direction, superb acting, and lovely cinematography. And, oh yes . . . there are genuinely creepy moments that will chill and startle and leave your heart racing. But, significantly, those moments are not gratuitous, and are for the most part necessary to the story line. My rating--8 out of 10.

Memento (2000)

The Blessings of Continuity . . .

[8/10 · 9 September 2001]

... and the bewildering nightmare of life without it--therein lies the crux of `Memento', a quietly brilliant film by Christopher Nolan. The film's opening credits, set over the image of a Polaroid photograph in the reverse process of developing itself, indicates the way the story will unfold--backwards. The cast is filled with first-rate actors, headed by Guy Pearce in a mesmerizing performance as Leonard Shelby--driven, tormented, with a sallow, haunted visage that is maintained throughout the film--who suffers from a rare medical condition which has robbed him of short-term memory. He is on a relentless quest to find and kill the man who attacked and murdered his wife, and who is responsible for Leonard's memory malfunction. The "rub" is that Leonard can't possibly remember the identity of the assailant. Leonard is only able to track him down by the use of Polaroid photos scribbled with reminders, a few odd post-it notes, and, most chillingly, by tattooing clues to his body, including a constant reminder of the reason for his mission, emblazoned backwards across his chest, readable only by use of a mirror. (An aside: `We all need mirrors to remind ourselves who we are', says Leonard at the end of the film--but the film's question to the audience seems to be: what does that mirror reflect? And can we always believe in the truth of that reflection?) While some may find the vigilante aspect of the main character abhorrent, the audience's empathy for Leonard is gained by the poignancy of his plight. In one heart-wrenching scene, Leonard, while burning some of his wife's belongings, wonders if he has ever similarly disposed of her things before and thinks: `I can't remember to forget you.' `Memento' is an astonishing homily about guilt and vengeance (and is vengeance ever really attainable?), manipulation and betrayal, and the lies we often force ourselves to believe when we fall into our own self-inflicted episodes of short-term memory. NOTE: Those with short-attention spans need not apply! This film demands from its audience absolute attention from beginning to end.

American Playhouse: Into the Woods (1991) Season 10, Episode 1

A Lush, Brilliant Masterpiece

[10/10 · 26 August 2001]

A quick synopsis of the story: Sondheim and Lapine take four familiar childhood stories--Cinderella, Jack and the Beanstalk, Little Red Ridinghood, and Rapunzel--add a fifth set of characters in the form of a childless Baker and his Wife, and sends them all out to more or less fulfill their stories as we know them, albeit bumping into and complicating each other's sojourn "Into the Woods". Act One ends, as usual, "happily ever after".

Act Two deals with what happens AFTER "happily ever after"...

I was fortunate enough to see the original cast perform "Into the Woods" on Broadway, and it has become not only my favorite musical of all time (with "Sweeney Todd" and "Sunday in the Park with George" tied just a hairs breadth beneath), but it's also become a palpable and trusted friend, someone to whom I can turn that will make me laugh, cry, and--most especially--THINK. Sondheim's rich and complex score amazes and delights, and his lyrics provide more wisdom and insight than a Chekov play or a Proust manuscript. As usual with Sondheim, it is possible to write a thesis on this show alone. The characters are sometimes enchanting and sometimes devious--all are basically flawed, but all are also memorable. Each character makes a long and arduous journey "into the woods", and most come out on the other side fundamentally changed, better human beings for the experience. The hilariously shallow princes, however, learn little from their march in the woods, gleaning only "the harder to wake, the better to have" from all the "agony" they witnessed.

Those who say Act One is a fun romp but that Act Two is a bit of downer and shouldn't be included miss the point of the entire show. At the end of Act One, the characters have all gained what they wanted, but they also remain superficial and greedy, out for themselves. Note the lyrics:

"To have, to wed,

to get, to save,

to kill, to keep,

to go to the festival!"

"The Festival" represents their own petty wants and desires, attained at whatever cost to others around them. Act Two forces the characters to become a community, to fight something bigger and fiercer than they are themselves as a whole (but is the enemy really "bad"? The ambiguity of the enemy is an interesting philosophical tidbit--"Giants can be good ..."). It is ironically The Witch (a spellbinding acting turn by Bernadette Peters)--the only character with an agenda who achieves it without being false, although she suffers from her own set of mistakes--who makes them see themselves for what they really are, in the blistering and heart-stopping "Last Midnight". The characters realize that John Donne's assertion "no man is an island" is, in fact, correct, that we are all connected to--and therefore responsible for--each other, as members of the human community. Contrast the lyrics at the end of Act Two:

"Into the woods, but mind the past,

Into the woods, but mind the future,

Into the woods, but not to stray,

or tempt the Wolf or steal from the Giant--

The way is dark, the light is dim,

but now there's you,

me, her and him ...

... To mind, to heed,

to find, to think,

to teach, to join,

to go to the Festival!"

"The Festival" has become something very different and the characters remaining are, for the most part, profoundly different human beings.

But I ramble on about something I love deeply. See "Into the Woods" and find your own wonder, truth, and friendship in it!

The Others (2001)

Intelligently Gothic

[8/10 · 19 August 2001]

Those who see "The Others" with the intent to be scared witless by figures leaping suddenly out of dark corners or by axe-wielding maniacs are in for a big disappointment. This film is much smarter than that. It is quietly moody--the anxiety level is almost subliminal, and for that reason all the more compelling. Nicole Kidman, looking eeriely like a reincarnated Grace Kelly, carries the film as the increasingly distraught mother of two precocious but mysteriously odd children, flanked by three kindly but equally unusual servants. The film opens with Kidman awakening early one morning with a blood-curdling scream--a primal scream that seems just barely sustained at the base of her throat for the rest of the film. She is at once icy and nurturing, in a bravura yet understated performance that I can only compare to (and I am honestly sorry to do this) Bruce Willis in "The Sixth Sense". Kidman proves, if nothing else, that she is an accomplished actor who is in complete control of her craft. The children are also excellent--the film wouldn't work if they were not. Nevermind if you guess the outcome of the film in advance, as did I--the ending is still fully satisfying and chillingly thought-provoking. Beautifully photographed.

Life with Judy Garland: Me and My Shadows (2001)

Remarkable Achievement

[10/10 · 11 April 2001]

No one can capture the true Garland essence, but Tammy Blanchard and Judy Davis come as close as humanly possible, and I'll settle for that. While I'm still conflicted over daughter Lorna's motives for writing the book upon which this film is based (and would Judy have approved??), and knowing there are gaps in the story, I was nonetheless astonished at the total virtuosity of this film. Wisdom prevailed when electing Blanchard and Davis to lip-sync to Judy herself, although this undoubtedly created more of a challenge for the actors portraying her. Both rose to the occasion. Ms. Blanchard's performance is little short of incredible--she captures the young Judy with a brilliance that is exceeded only by the subject herself (the "Oz" sequence is almost spooky). Judy Davis performing "The Trolley Song" is a bit jarring (perhaps Ms. Blanchard exited the film a bit too soon), but as the film moves ahead, the perfection of her casting is obvious. She vocally and physically mimics the great Garland in another "tour-de-force" performance. The supporting cast also shines, in particular John Benjamin Hickey as Roger Edens, Judy's vocal coach, mentor, and dear friend. Mr. Hickey's quiet strength matches that of Mr. Edens, a lovely, warm glow in the background. Even Legends have their anchors--Roger was Judy's for many years, and Mr. Hickey's silent presence in this regard is perfect. Garland fan or not, this is captivating show(man-and-woman)ship of the first order. I repeat . . . "virtuosity". In keeping with the great and wonderful Judy Garland.

Mr. North (1988)

Not A Great Flick, but Anthony Edwards Shines

[8 January 2001]

I watched this movie on cable today, compelled not by the film itself (which sadly isn't up to snuff), but by the story, and especially by the charismatic leading character. The face was vaguely recognizable, as was the warmth and humanity of the actor's performance. Although the film, replete with a sterling cast, fails on many levels, Anthony Edwards' does not. He captures the glow of the title character, and positively shines with compassion. It's an excellent example of a great actor rising above a shoddy script and making a role his own. I give the film 5 stars out of 10 . . . but I give Mr. Edwards a perfect score.

Gladiator (2000)

"Gladiator" Is A Perfect Ten

[10/10 · 13 May 2000]

"Gladiator" is a film that should suit all tastes. It is expertly mounted and an eye-filling event; the blood and gore, delivered in split-second imagery (allowing your head to fill in the rest) should satisfy the most blood-thirsty movie goer; and the story is a superb tale of good vs. evil, power vs. honor, and "Might for Right". I was reminded of "Camelot" many times during this film, especially by the almost unrecognizable appearance of Richard Harris as the wise and noble Marcus Aurelis. But the sole weight of this overwhelming piece rests on the shoulders of the magnificent Russell Crowe. If one doesn't believe in him, then one doesn't believe in this epic costume drama. Kudos to the rest of the cast as well, and hand over heart for the late Oliver Reed. But back to Crowe--he is an actor to contend with. My one worry is that this film will reinvent him from "gifted actor" to the next "Hollywood Hunk". I've watched other mercurial, vastly talented actors, like Mel Gilbson and Alec Baldwin, sell out to beefcake roles, and I'm praying Crowe doesn't fall under the same spell. Although his work in "Gladiator" is a tour de force performance, he very nearly sprays testosterone from the screen. It's what was exactly demanded from him in this role, and he exceeded expectations in that regard. My hope is that he continues adding to his extraordinary body of work, rather than "selling out". Take my word for it, he'll be the next "Mel Gibson/Alec Baldwin/"People" Magazine's Sexiest Man on Earth if he isn't careful. Want to take a trip along side a great actor? Watch "The Sum of Us", or even "The Insider", and then immediately go out to see "Gladiator". In all cases you'll witness a great actor doing his job extremely well.

Frequency (2000)

Ham Radios, Time Warps, and the Northern Lights

[8/10 · 15 April 2000]

*** 1/2 "Frequency" is at times a flawed film, but not fatally so. If you can sit back and take it at face value, it is a rich, suspenseful fantasy, helped along by strong performances, and by a story line replete with many twists and turns. Through the technology of a ham radio, and with mysterious aid from solar flares and the Aurora Borealis, 36 year old John Sullivan (touchingly played by James Caviezel) speaks to his long deceased Dad, Frank Sullivan (a great acting turn by Dennis Quaid), who is communicating from 30 years back, two days before he is supposed to be killed fighting a warehouse fire. From the future, John is able to communicate his father's impending doom and helps Frank avert the disaster (by the way, this isn't exactly a "spoiler", since it takes place within the first 20 minutes of the movie). A sad ending is turned into a happy one, right? Not quite. Frank's survival changes the course of history (at least, the personal history of his family) and sets an entirely new chain of events in motion. The result is a roller coaster ride of a film. Let the high-minded critics pick at the one or two holes in the plot--the rest of us can thumb our noses at them, see this film and have a great time.

Magnolia (1999)

"Magnolia" is Magnificent!

[10/10 · 28 January 2000]

"Magnolia" is an incredible array of humanity and human experience, a veritable banquet of sin and forgiveness, of coincidence and synchronicity, of broken dreams and cherished sorrows. It is a gripping masterpiece of a film, with astonishing performances (Tom Cruise AIN'T "Jerry McGuire" in THIS movie!), editing that moves the stories along with breathtaking fluidity, and a remarkable soundtrack that is a character in itself. All the characters have distinct and compellingly grim sagas to witness or to tell--for me, the clearest voice and the narrative thread of the piece comes from John C. Reilly's exquisite performance as the lonely, emotionally fragile cop, Jim Kurring. And it is the awesome spectacle towards the end of the film, which no doubt will leave many scratching their heads, that underlines the movie's REAL agenda and message. No spoilers here--simply see this monumental testimony to The Human Community. Kudos to the brilliant Paul Thomas Anderson.