Movie Reviews...
"The meaning of life is to see." --Hui-Neng
Ok, here are the rules:
One star means rent it if you plan to watch it at 4AM and there's nothing better on, like on MST3K or Joe Bob's Monstervision.
Wait for video, definitely. Two stars means you can watch it in the afternoon, but don't tell anyone. De gustibus non est disputandum.
Three stars means it's actually not bad, but isn't great theatre either. Interesting or entertaining, but not Kurosawa or Hitchcock. Catch it on video or see it in the theatre if someone else is paying.
Four stars means it's quite good--see it in the theatre if you can.
Five stars means you should run, not walk, to the nearest theatre to see this movie, even if you have to sell your original Star Wars lunchbox to afford the ticket and popcorn.
or
Ever After (1998)
Starring Drew Barrymore, Dugray Scott, Angelica Houston, Jerome Krabb
Directed by Andy Tennant
Written by Susannah Grant, Andy Tennant, and Rick Parks
Cinematography by Andrew Dunn
Original music by George Fenton
A retelling of the faery tale of Cinderella, Ever After keeps most of the elements of the traditional story, but revamped a bit for the 90's. The faery godmother is replaced by Leonardo daVinci, and there aren't any pumpkins, but otherwise, all the elements you expect and want in a faery tale are there.
I must confess to being pleasantly surprised by the acting. I have never been much of a fan of Drew Barrymore, but she was an excellent Daniella/Cinderella. She should have eschewed the English accent, but her feminist spin on poor little Cinderella was refreshing, honest, and entertaining. She didn't wait for the prince to save her, but she didn't shove her 90's political correctness down the throats of the audience, either. Angelica Huston is always a stunning villain, never overacting or giving in to campiness. She is subtle and cold, truly frightening in her abuse of Daniella. It is all too easy in a story where everyone already knows the ending to give way to overacting and theatrics or saccharine-sweet posturing. The actors do none of those things, taking their craft seriously without taking themselves too seriously in what is, essentially, a children's story trying to appeal to adults.
Much has been made of the music and costuming already, so suffice it to say that I, too, fell under the spell of the "extras" that often make or break a movie. If you are looking for strict historical accuracy, you won't find it at all, but for a faery tale look with realistic edginess, Ever After does it in spades. Look for another fashion revolution like we saw after Titanic.
If you are looking for summer light-heartedness and a good story that doesn't make you think too much, Ever After is just right. It doesn't pretend to be what it isn't, never becomes too "artsy" or pretentious, and doesn't fail to entertain as it dazzles the eyes. It isn't the emotional tearjerker that it could be, but that's all the better in my opinion. It resists the Disney complex to become too cute and sweet for words, but never forgets that it is, in fact, a faery tale.
Hope Floats (1998)
Starring Sandra Bullock and Harry Connick, Jr.
Directed by Forest Whitaker
Written by Steve Rogers
Cinematography by Caleb Deshanel
Music by Dave Gusin
This movie is theoretically about Sandra's character Birdee and the way she recovers her life after her husband and her best friend reveal the fact that they have been having an affair, while the three of them are on a daytime talk show, a la Jerry Springer. Birdee backs up and regroups, moving with her daughter Bernice from Chicago back to Texas to live with her mother in Birdee's old hometown. Back in Texas, she finds herself again and also finds Justin Matisse (Connick), who had, of course, always had a crush on her in high school.
Hope Floats was a bit predictable and at times overly maudlin. It's emphasis on characterization over plot or other cinematic elements reminded me of the dramas of the early 1940's and 50's. I won't give the plot away, but there are incidents in the film which only serve to strengthen the theme that "gosh, people really can survive anything." It is at times about Birdee's depression and how she handles (and doesn't handle) that, at times about motherly or daughterly love, and at times about starting over, both within and without yourself. The message very difficult to watch, especially if you form any emotional attachment to any of the characters. I personally had quite a bit of association trouble--only prom queens will be able to associate themselves well with Birdee. Yet Hope Floats was in some ways worth the ride...Gena Rowlands as Birdee's mother and Mae Whitman as Bernice, Birdee's daughter are incredible, and those of us who couldn't identify with Birdee's character may find a home with one of these two. Male audience members may have a harder time--what man wants to feel the role of either Birdee's obnoxious and adulterous husband (Pere) or the lackluster Justin (Connick)?
All in all, Hope Floats was good, but not that good. If you love tearjerkers, want to renew your faith in the fact that, yes, Virginia, you really can bear anything that must be borne, then this is the movie for you. If you wanted more plot and less characterization, then this is not the movie for you. I would also recommend that you watch it when you are very, very happy going into it.
Saving Private Ryan (1998)
Starring Tom Hanks, Tom Sizemore, Edward Burns, Barry Pepper, Adam Goldberg, Vin Diesel, Giovanni Ribisi, and Matt Damon.
Directed by Steven Spielberg.
Written by Robert Rodat, Frank Darabont, and Scott Frank.
Cinematography by Janusz Kaminski.
Original Music by John Williams.
It has been said that this movie is cliche: the opening scene where the family walks through the gravestones, particularly. But the fact is, war itself is cliche, and sometimes things become cliche because they are true.
This is not an easy movie to watch. The war-scenes are graphic with camera work that either takes you right into the action or reminds you that you are watching a war movie in a nice comfy theatre. There is no doubt, however, that war is Hell, something every member of the audience should already know, but likely forgets far too often. There is a difference between knowing the facts of D-Day intellectually and actually seeing a representation of it on the screen. There is no way to really evoke the feelings of horror and helplessness that the soldiers must have felt as they hit the beach on Normandy, but this movie comes pretty close.
The characters were a bit shallow in some ways, but it is a fact of war that you might not even know the name of the person who was just slaughtered right next to you, and you never know who is going to live and who is going to die. Amphibious assaults are not the way to form long-term relationships; something the audience learns quickly when almost every actor they see is lying dead on the beach by the end of the opening sequence. On the other hand, the body of the movie does successfully develop the personalities of at least two or three of the major characters, something other war movies have done well, such as "The Longest Day." There are some nasty surprises and some triumphant moments, much too few of the latter in the harsh reality of war.
At the end of the movie, the audience has learned several lessons. Paradoxically, Saving Private Ryan is able to simultaneously show the horror of war and also show that no movie can really show the absurdity of war. It also makes a definite statement about the need to appreciate the sacrifices of the men and women who fought; there is no shortage of guilt it this movie or in the audience.
The X-Files (1998)
Starring Gillian Anderson, David Duchovny, Mitch Pileggi, John Neville, William B. Davis, and Martin Landau.
Directed by Rob Bowman.
Written by Chris Carter and Frank Spotnitz.
Cinematography by Ward Russell.
Music by Mark Snow.
I admit it, I'm a confirmed X-Phile, and it would take a lot to make me hate this movie. But the few non-X-Files fans I spoke to loved the movie as well, and there were only a few fans who didn't like the movie (one complained that it had too little "action;" the other complained that it had too much). It has action (though slowly paced and somewhat derivative), it has answers (and more questions), and it has typically great acting on the part of Anderson. Duchovney was even a bit less bland than usual. John Neville was predictably great as The Well-Manicured Man, into whose character we finally get to see, a la the episode "Confessions of a Cigarette Smoking Man." William B. Davis as the CSM and Mitch Pileggi as Skinner were affective and affecting as usual, but their parts in the movie were unusually brief. Martin Landau played a new character: Dr. Kurtzweil, conspiracy theorist and former friend of Mulder's father. His performance was a bit lackluster and uninteresting, but I believe that to be a relic of the part, not of the actor's abilities. The appearance of the Lone Gunmen were regrettably brief, but the focus was kept on the storyline.
There is little that can be said about the plot without giving it away. It does provide answers about the themes that have been developing over the life of the series, but not too many to ruin the show this fall. It has intrigue, special effects, and spooky lighting (provided by excellent cinematographer Ward Russell), but you expect that from the series. Set pieces provided tension and character development, more fully fleshing out the situations.
However, it should be said that the slow pace could have been done more effectively. Ostensibly, it gave time for character and situation development, letting people who are not watchers of the show "catch up." Instead, it ended up creating a few dull moments that did more than let us catch our breath. It is not necessary to make a movie a thrill-ride to make it good, but there were times when scenes were stretched to their breaking point, leaving the viewer merely annoyed instead of concerned for Mulder or Scully.
It is also a bit upsetting that there was so little a screen presence for the CSM. All along, we have been led to believe that his is an intrinsic part of the shadow government which excels so at torturing Mulder. For all of this, however, Davis was minimal at best. Instead, we concentrate on The Well-Manicured Man for reasons of plot continuity.
All in all, the show translated well to the big screen, providing a more complex story line and many more set pieces than there could ever be in an hour. If you are expecting an action-packed thrill ride along the lines of Terminator or Alien, you may be disappointed, though the movie does deliver excitement. It delivers it in an X-Files way, however, that will not be rushed or tipped too soon, like some episodes which were rich in implication and thought instead of traditional (and overdone) mere bloodshed. This is a psychological thriller in some ways as much as a science fiction blockbuster. Great work for Ward Russell, a nod to the abilities of a good cinematographer.
Starring Akira Terao as "I"
Directed by Ishiro Honda and Akira Kurosawa
Written by Ishiro Honda and Akira Kurosawa
Cinematography by Kazutami Hara, Takao Saito, and Mashaharu Ueda
Music by Shinichiro Ikebe
Dreams is essentially eight separate short films forming a cohesive whole that is stunning in its depth and intensity, as well as artistic integrity. The main character of "I" runs all the way through the movie, a boy in the first sections and a man in later sections. "Sunshine through the Rain" is the story of a boy who is told to avoid the weather conditions that presage the wedding of the fox spirits which are fatal for human witnesses. Of course he goes anyway. "The Peach Orchard" chronicles the boy's encounter with the spirits of the peach trees, seen at one point as dolls. The orchard has been almost destoryed by the boy's family, and this section carries a strong warning about environmental destruction and a message of hope for spiritual renewal. In the third section, "The Blizzard," a team of mountain-climbers hope for divine intervention and battle death in the form of a beautiful girl. In "The Tunnel," a lieutenant faces the ghosts of the soldiers under his command and puts them to rest, as well as his own restless spirit. "Crows" shows an art student enter a painting by Van Gogh and encounter the artist himself. In "Mount Fuji in Red," a nuclear meltdown creates widespread destruction and panic. "The Weeping Demon" gives us the possible aftershot--a post-apocalyptic world of half-human atrocities where death or mutation is caused by varying colored clouds. The last mini-film, "Village of the Watermills" shows what it would be like to be perfectly at peace with themselves and with Nature, a vision of what might have been or still could be for the other, less enlightened views.
There is no way to praise this movie highly enough except to give it my highest rating possible. Here we have a director who understands character development balanced with interesting plot and brilliant cinematography. In a visual medium of cinema, Kurosawa does not neglect the visual element, but uses it wisely and for effect, almost a revolutionary thought in cinema today. Yes, we all know Kurosawa is likely the greatest director alive today, but with Dreams he outdoes himself. The excellence and elegance of the cinematography of Kazutami Hara, Takao Saito, and Mashaharu Ueda cannot be overstated. See it for
the effective use of light and color, see it for the acting, see it for the artistry, see it for the music, see it for the writing--whatever aspect of movie-making is your particular interest, Dreams has it covered perfectly. Yes, it is an "art film," but even people who protest that they do not like "art films" will like this one. It is just too moving and
beautiful to dislike.
Starring Alan Rickman, Hugh Grant, Georgina Cates, and Alun Armstrong
Directed by Mike Newell
Written by Beryl Bainbridge (novel) and Charles Wood (screenplay)
Cinematography byDick Pope
Original music by Richard Hartley
The movie begins in Liverpool in 1947, where a 16-year-old Stella decides to join a theatre company as an unpaid student assistant. As the director assembles his cast and rehearses them through a series of plays, various sexual and emotional intrigues occurring backstage weave themselves into a finale of both triumph and tragedy.
This movie is just about as depressing as they come. The cast of the play within the movie is dysfunctional in every conceivable way leading them to commit cruelties and careless errors that destroy the lives of almost everyone. Yet, there is a sense of nobility in some of the characters that allows them to rise above it. Stella, for example, the ingenue, is young and a bit immature, but learns from her mistakes and seems to grow wiser from her pains. Alan Rickman, doing an astounding job as P.L. O'Hara, possesses honor that may destroy him in the end.
This movie is not for the weak of heart. The shocking revelations are enough to disturb most watchers, and the intensity of the character development leaves plot and excitement a bit lacking. The meta-theatre aspect of the movie is nicely done; self-aware, but not pretentious. The movie ends up being cathartic without being preachy, but should never be watched by anyone who is already even a little depressed.
Starring John Cusack, Minnie Driver, Joan Cusack, Alan Arkin, and Dan Ackroyd
Directed by George Armitage
Written by Tom Jankiewicz, D.V. DeVincentis, Steve Pink, and John Cusack
Cinematography by Jamie Anderson
Grosse Pointe Blank is quite likely the funniest movie of 1997. Every element is perfectly balanced with the others, from the writing to the acting to the soundtrack. Yes, it's about an assassin, but in the hands of John Cusack as Martin Q. Blank and writing that is subtle and elegant, that can be hilarious. He's disenchanted with his profession, being forced to join a union (headed by Ackroyd), and his old high school girlfriend (Driver) hasn't forgiven him for standing her up at the prom 10 years ago. Once at the top of his profession, Cusack just can't quite muster the enthusiasm for killing that he once did. Arkin portrays Cusack's therapist; threatened and cajoled, Arkin delivers a mixture of anxiety and panic that is amusing to no end. John Cusack's sister Joan is brilliant as his secretary. Some of the most nicely finessed scenes in the movie are between the two of them.
The soundtrack is effective, the action is affecting, and the emotional charge between Driver and Cusack is believable. You want to be horrified by the fact that sweet Martin Q. Blank *kills people*, but you just can't. They're always bad guys, right? Anyway, definately rent this one and admire the facility of the actors and the writers.
Starring Steve Buscemi, Catherine Keener, and Dermot Mulroney
Directed by Tom DiCillo
Written by Tom DiCillo
Cinematography by Frank Prinzi
Music by Jim Farmer
The basic plot of Living in Oblivion is quite simple. Nick (played by Steve Buscemi) just wants to make his movie, but everything seems to go wrong. Beginning with dream sequences by himself and leading lady Nicole (Catherine Keener), portrays the trials and triblulations of making a movie, particularly when the director's artistic vision conflicts with the stage manager's time and financial concerns and most of the staff seems to take the movie a bit less seriously than one would hope. Only Wolf (Dermot Mulroney) the cinematographer seems to understand, but he is none too stable emotionally. Living in Oblivion switches from black and white to color very effectively to deliniate between "real life" and the filming of the movie within the movie. Like the murder play within Shakepeare's Hamlet, the movie within Living in Oblivion exposes the emotional, secret motives, and at times subconscious situations of the movie's inhabitants. There are several amusing moments within Living in Oblivion, not the least of which is the interaction between Buscemi as Nick and Rica Martens, playing the double role of Cora and Nick's mother.
You loved him in Pulp Fiction (perhaps seeing him as the only redeeming moment), you thought he was brilliantly funny in Escape from New York, and you forgot he was acting in Fargo, but do you really appreciate the acting ability of Steve Buscemi? Well, if not, Living in Oblivion will fix that for you. He shows us a wide range of characterizations and emotions, going from concerned to smarmy to sweet and frustrated within the span of a few moments. Catherine Keener, a new name for me, was wonderful as well, playing the part of the injured and tender-hearted leading lady with a backbone. And Dermot Mulroney...how can you not love Dermot? Ever since he had a bit too much peyote with Keifer, Emilio, and the boys several years ago in Young Guns. He, too, has many wonderful moments in Living in Oblivion. All in all, I cannot recommend this movie enough. As long as you don't fear the ominious breaking of the fourth wall.
Starring John Guielgud, Michael Clark, Erland Josephson, Isabelle Pasco, and Michel Blanc
Directed by Peter Greenaway
Written by William Shakespeare (play) and Peter Greenaway (screenplay)
Cinematography by Sacha Vierny
Original music by Michael Nyman
A retelling of Shakespeare's The Tempest, Prospero simultaneously gets his revenge on his enemies, recovers his lost glory and throne, and marries off his daughter to the son of his greatest enemy.
A brilliant spectacle and an example of visual storytelling, Prospero's Books is filled with art, fantasy, and glitter. Visually overwhelming, there are few pieces of cinema more striking than this movie. Unfortunately, it is almost *too* striking visually, but it is so well-done and enveloping that the audience is almost too dazzled to care. It is a bit over-the-top, but Shakespeare's last play calls for that. The phantasms and dreamlike quality can, at times, distract from the acting, which is usually inspired and worthy of Shakespeare, but the aura of "Other" which pervades this movie was intended by the text of the play itself. The sets and costuming were always interesting, and the Shakespearean dialogue woven into the action and imagery was effective, particularly Prospero's final farewell to the faeries. Do not see this movie, incidentally, if you are offended by nudity.
Starring Emma Thompson, Alan Rickman, Hugh Grant, and Kate Winslet
Directed by Ang Lee
Written by Jane Austen (novel) and Emma Thompson (screenplay)
Cinematography by Michael Coulter
Original music by Patrick Doyle
This movie adaptation of Jane Austen's early Victorian novel was very well done indeed. While some may quibble that Emma Thompson was several years "too old" to play Elinor, the oldest of the Dashwood girls, Thompson's performance of the overly-serious and proper character was elegant and believable. Rickman is brilliant as Colonel Brandon, breathing life into a role that seemed created for him. If anything, his Brandon almost takes over scenes that were meant to feature other characters, just as the actor did in Kevin Costner's Robin Hood as the Sheriff of Nottingham. Winslet is radiant and suitably annoying as the melodramatic Marianne. I was particularly impressed with Emilie Francois as the youngest Dashwood girl, Margaret. Francois reminded me quite a bit of Kirsten Dunst, Claudia of Interview with the Vampire. Gemma Jones as Mrs. Dashwood, mother of the three girls, makes quite a bit of her part, portraying the worried and honorable character with sincerity and grace. Much has already been made of the costuming and settings, so I won't repeat those laurels here.
As all adaptations, Sense and Sensibility had to be cut to fit within the framework of a movie. The cuts were made carefully and with an understanding of pacing and character development. Sense and Sensibility as a novel was character driven, and the movie is no different. The vague feminist overtones of the original novel were included, but not over-played, staying impressively true to Austen's novel. People who feared that this would be a "chick movie" were pleasantly surprised, seeing that the original novel is a classic piece of literature for good reason. The excellent cast pulled the viewers directly into the world of western England. If you are looking for thrills and chills, this is not your movie. However, if you are looking for a period piece with some modern appeal, Sense and Sensibility will entertain if not enlighten.
Starring Julia Ormond
Directed by Bille August
Written by Ann Biderman and Peter Høeg
Translation by Tiina Nunnally
Cinematography by Jörgen Persson
Original music by Harry Gregson-Williams and Hans Zimmer
Smilla Qaavigaaq Jaspersen, 37, of Eskimo descent lives in Copenhagen. Difficult to get along with, she is usually alone. One day, her only friend, 6 year old Esajas, falls the roof and is killed in what appears to be an accident. Smilla, however, believes he has been murdered and begins to investigate. Influential people in her town encourage her to stop her investigations, some in a very threatening way.
Smilla begins to track the conspiracy to its source, and uncovers a trail of clues leading her towards a secretive corporation that has made several
mysterious expeditions to Greenland. The answers to her questions ultimately lie on Gela Alta, an forbidding and desolate island off the coast of Greeland.
Julia Ormond as Smilla is engaging and interesting, her face revealing a wide array of emotions and thoughts. The writing is also interesting, but the dialogue seems to suffer a bit in translation. The characters often use phrases and words that simply don't have an analogue in English, and though this does not hinder understanding, it does make the movie a bit more work than it needs to be. The settings are nicely created, lending a sense of malice and danger to the plot and underscoring the fact that Smilla might have to give her life in return for the answers she seeks. Mystery buffs will be interested to see how Smilla goes about uncovering clues and tracking the guilty parties. All in all, this movie is well-done, not astounding, but good.
Starring Michael Jai White, John Leguizamo, Nicol Williamson, Martin Sheen, D.B. Sweeney
Directed by Mark A.Z. Dippé
Written by Alan B. McElroy, based on a story by McElroy and Mark A.Z. Dippé, based on the comic book by Todd McFarlane
For those of you who haven't read the comic book, White plays Al Simmons, a spy/covert operative whose ethics have become too difficult for his boss (Sheen) to manipulate. Sheen double-crosses him, and Simmons is no more. But wait, while in Hell, Simmons is transformed into a hellspawn by Malebolgia in the hopes that Simmons will lead the armies of Hell against the gates of Heaven. Leguiazamo plays Malebolgia's head badguy, a sort of infernal tutor for the new Spawn. Spawn, however, has his own ideas.
The special effects are dazzling. Spawn's cape alone is worthy of a mention, a CGI masterpiece. Only Hell is strangely unimpressive and likely wouldn't frighten an altar boy into attending church.
While an excellent adaptation of the comic, Spawn the movie can also be enjoyed by people who have never read a comic before. In this sense, it is a rather campy action movie that concentrates on special effects and tough guys rather than on theological, ethical, or spiritual issues. This, however, is the root of my problems with it. Spawn could have raised more interesting issues than it does. Don't get me wrong--I don't demand (or want) a Sunday school lesson in every movie that mentions some god. Yet the idea behind Spawn gives rise to interesting human questions of redemption, the power of love and friendship, and the value integrity and personal strength. Spawn successfully delivers a fine adventure movie with interesting and appropriate special effects, but not much else. Even the acting is just "enough," not anything more. You won't have to think and you will be entertained; sometimes that's "enough."
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