Roger Spottiswoode directs this below-par sci-fi
yarn which is, at least, a reasonable return to form for Arnold Schwarzenegger.
Set in the near future where cloning has been perfected but cloning of humans is
illegal, the
Austrian stars as a happily married helicopter pilot who arrives home one day to
discover an identical version of himself celebrating his birthday with his wife
and daughter. Additionally, he also discovers that someone is
out to kill him.
The premise is intriguing but the issues are never fully explored. That would be
fine if the UMV quotient was high enough but Arnie (who co-produced) has opted
for a softer approach. The end result isn't bad but Spottiswoode (who also gave
us the weakest Bond movie in years) just isn't the right director for this
material. Cameron or Cronenberg would have had a field day with this set-up.
Nonetheless, given that Arnie's acting abilities don't even stretch to the level
of Roger Moore's raised eyebrow) this is still entertaining stuff for Arnie
fans. Bad guy Tony Goldwyn bares an uncanny resemblance to Bill Gates
and Sarah Wynter adds spice to the bad-guy team. Some of the futuristic elements
are interesting, including the 'virtual girlfriend' (Where do I sign up?) and
the helicopters could have sprung straight from the mind of
Gerry Anderson - surely a video game tie-in here?
Sequel to the live-action version of the Disney
original. Glenn Close reprises her role as Cruella DeVille, this time craving
102 spotty dogs for her new coat (it has a hood). Of course, the dogs are stars
too - and this time the Dalmatians are complemented by a host of other breeds
plus a parrot (voiced by Eric Idle) who thinks it's a Rottweiler.
The story is little more than a rehash of the original. The romance element is
provided by Ioan Gruffudd who runs a dogs home and Alice Evans who acts as
Dalmation owner and Cruella's parole officer. The chemistry between these
two isn't bad, and the recreation of the spaghetti eating scene from Lady And
The Tramp is a minor gem.
Although lacking any real originality, the film contains enough to amuse both
adults and kids alike. Certainly worth checking out if the Christmas holidays
begin to drag.
Set in the future when the Earth is dying due to a depleted ozone layer and Man is hoping to colonise Mars. A terraforming mission has already been sent out to make the atmosphere breathable. Now it is time for a mission led by Val Kilmer and Carrie Ann Moss (The Matrix) to continue the good work. Unfortunately some adverse solar activity causes problems on board their ship and most of the crew find themselves stranded on Mars with a robotic assistant which has taken a nasty jolt during the emergency landing.
The opening premise is quite good and the mystery of what has happened on the planet surface promises much. Ultimately however, it delivers little. The solution to this puzzle is very disappointing, but along the way there are some good scenes. For the most part, the sub plot involving the robot is almost superfluous though and only really garners much interest towards the end of the film.
Val Kilmer is quite reasonable (though still a little
wooden) in his role. Carrie Ann Moss is much more believable as the mission
commander and is definitely the best thing about this movie. By no means as
disastrous as this year’s previous movie ‘Mission To Mars’ but still
requiring to be rescued itself.
Urban Legends: Final Cut (5.5)
Sequel virtually in name only to the 1998 original. This still has a cast of unknowns being bumped off according to urban legends, but the set up is somewhat different and the plotting thankfully more coherent.
This time the action is set in a film school where one of the students has the idea of shooting a movie about, yes you’ve guessed it, students being bumped off in the manner of victims of urban legends. Thus the edges of reality and fiction are immediately blurred as it becomes trickier to determine what is true and what isn’t. One might say this is ripped off a little from Scream 3, but as it is executed (excuse the pun!) to better effect, who cares?
It lacks the really scary moments of its predecessor (the original had an opening scene to rival the original Scream) but makes up for that with a plot that bears up to closer inspection. Mindless and enjoyable post-modern horror for the teenage market which won’t linger long in the mind but is enjoyable whilst on the screen.
Big screen version of the lightweight 70s TV series starring Cameron Diaz, Drew Barrymore and Lucy Liu as the eponymous Angels. The flimsy plot has the 3 girls plus Bosley (nicely played by Bill Murray) set off in search of stolen computer software capable of mimicking a person’s voice. Though the plot takes a few twists and turns beyond this, it plays distinctly second fiddle to the action.
The film has a suitably glossy look which is enhanced all the more by plenty of gratuitous shots of the girls, most notably Cameron Diaz’ behind. No chance of the acting winning any Oscars but, for the record, Bill Murray’s camp Bosley wins the day whilst Lucy Liu edges out her companions. In fact, any fan of the Ally McBeal star will quite happily walk away feeling they have not wasted their money. Other than that, it's a typical Summer blockbuster style movie which is high on action, low on anything remotely cerebral and full of good looking girls . But that's exactly how the TV series was, and this doesn't disappoint. Strangely, the end result seems far more satisfying than it ought to!
The Exorcist - Directors Cut (9)
The classic horror film from 1973 gets yet another re-release treatment (The last one was only 2 years ago). Just in case there is really anyone out there who doesn’t know what it’s all about, the film tells the tale of a 12 year old girl (Linda Blair) who is possessed by a demon. When her fraught Mother (Ellen Burstyn) turns to the Catholic church for help, aging priest Max Von Sydow is duly despatched to perform the required ritual.
In fact the full title is misleading, since this is actually the version which author William Peter Blatty first saw before director William Friedkin chose to pare it down a little. Eleven minutes of extra footage has now been re-integrated, including the spider walk sequence, some subliminal imagery and a concluding conversation between police investigator Lee J Cobb and the family’s priest. Whether or not this makes the film any better or worse is open to debate, but no-one can deny that the inclusion of the spider walk sequence (all 3 second of it!) certainly adds another memorable moment. However, what really makes a difference to this version of the film is a completely remastered Dolby Digital / DTS soundtrack which is guaranteed to put the fear of God (or whoever!) into the audience at all the right moments.
Still one of the most terrifying and disturbing films in the genre. (Just check out those fashions for starters!) Recommended viewing for all horror fans, especially those who may never have seen it on the big screen or even at all.
As her first project since 1995’s Strange Days, Kathryn Bigelow directs this adaptation of Anita Shreve’s novel. Catherine McCormack is a photo-journalist writing an article about an incident that took place more than 100 years ago in 1873 when 2 women living on a remote isle in New England were brutally murdered and a third barely escaped with her life. Having accepted her brother-in-law’s offer to visit the island on his boat, Catherine begins to suspect there is more to the relationship between her husband (Sean Penn) and his brother’s new girlfriend (Elizabeth Hurley) than meets the eye. As the film deftly intercuts between the 2 parallel stories, what begins to emerge is a warning of how repression and sexual jealousy can lead all too easily to tragic consequences.
Post-mortem analysis reveals this to be a relatively flimsy plot. Fortunately this is well disguised by some solid acting and some superb photography. Some period courtroom drama lends the film false gravitas. The appearance of Liz Hurley lets the side down woefully but most men will likely forgive her that for the moment when she reveals what lies beneath her bikini top. Against the run of play, it is ultimately the period mystery that bears fruit whilst the contemporary story literally blows over.
A very nice film to look at, but Kathryn Bigelow has shown that she can produce better work than this
Australian director David Twohy (The Arrival) helms this modestly budgeted sci-fi yarn. A meteor shower causes a spaceship to make an emergency landing on a planet on bathed constantly in sunlight owing to the fact that it has 3 suns. Fortunately the vicious creatures which inhabit the planet are nocturnal, but an eclipse is in the offing and trouble is lurking for the assorted passengers and crew of the stricken craft. This motley bunch includes Ripley-esque pilot Radha Mitchell, unorthodox lawman Cole Hauser and hard-ass psycho Vin Diesel.
The plot set-up never really delivers as much as it initially promises, content as it is to eventually settle into an Alien-style ‘who gets it next?’ thriller. The collective acting abilities of a largely unknown cast is also distinctly lack-lustre. But 3 elements combine to make this film worth watching. First and foremost is the creative use of lighting to add a distinctly eerie atmosphere to the proceedings. Secondly, the planet’s natural inhabitants are mean enough to match some of the best sci-fi creations. And thirdly, Vin Diesel’s psycho has such a cool and calculating manner that he makes Cyrus The Virus and Hannibal Lecter seem like complete wimps.
If only the inventiveness of the script could have equalled that of some of the other elements, this might have been a minor gem.
Directorial debut of Christopher McQuarrie, whose previous scriptwriting genius reached its zenith in 1995 with The Usual Suspects.
Ryan Philippe and Benicio Del Toro hatch an unusual kidnapping plan to ransom a very pregnant Juliette Lewis’ unborn baby, not realising that a major crime lord has a vested interest in her. Soon they have not only 2 of Lewis’ bodyguards on their trail but also a hardened and experienced bag man in the form of James Caan. What develops is a modern day Western with shades of Peckinpah and Leone, peppered throughout with an abundance of noirish-style twists and revelations. Not to mention a wry sense of humour.
Not only does James Caan’s performance knock the rest of the cast into touch, he also gets to deliver probably the best dialogue of the year. ‘$15m. That’s not money. Money is what I take to the grocery store. $15m is a motive with a universal adapter attached to it’. Whilst the elaborate plot is not in the same league as The Usual Suspects and some of the later twists border on the ridiculous or even the ridiculously obvious, the bloody action sequences contain more than enough gun-play to satisfy action and Western fans alike.
By no means a masterpiece, but wildly entertaining nonetheless.
A British produced documentary which studies the fears of the American public during the late 60s and 70s by examining some of the seminal horror movies produced during that period. The documentary includes clips from such movies as Texas Chainsaw Massacre, Night Of The Living Dead, Shivers, Last House On The Left and Halloween interspersed with commentary from their respective directors.
Whilst there are some illuminating comments on what went through the minds of some of the directors, I can’t help but feel that most were just proffering retrospective justification for the amount of visual horror which their films of that era depicted. Since I can’t claim to have seen many of the films under discussion, perhaps my judgment is harsh. But for me, at least, this documentary was disappointing.
Robert Zemeckis directs Harrison Ford and Michelle Pfeiffer in this Hitchcockian style suspense thriller. The stars are husband and wife who have recently moved into a new home. She becomes increasingly neurotic and paranoid, believing she is being contacted by the ghost of their recently disappeared neighbour. Are supernatural forces really at work? Were the couple next door concealing a troubled past? Or is there some other explanation.
Whilst neither stars nor director can be accused of firing on all cylinders (and thus making this a bit of a let-down), there is still much to enjoy on the screen. Apparitions in misted mirrors, a tap dripping into a steaming bath, strange night-time activities next door, and even the family pet (It’s an old cliché but oh so effective!) all serve to build the tension and provide the requisite number of ‘things that go bump in the night’ moments. The final resolution descends into more mundane thriller fare but still has one or two very intense scenes, most notably of Michelle Pfeiffer’s bathroom predicament. Those responsible for the camera work on this film are to be commended.
Sadly, what lies beneath the surface of this extremely watchable thriller need not bother the master of the genre.
Romeo Must Die (5)
A former Hong Kong cop (Jet Li) comes to San Francisco to discover the truth behind his brother’s murder. In so doing, he becomes involved in a raging gang war between the Chinese and Black American communities. Love interest is supplied by Aaliyah as the black gang leader’s (Delroy Lindo) daughter.
Two things make this relatively average kick flick stand out from the crowd. The first is the idea of mixing martial arts action with gangsta savvy. The rap dance soundtrack blends well into this mix. The second is the intercutting, at vital bone-crunching moments, of X-ray style visuals depicting the bones actually breaking. Plus Li displays some entertaining stunt work.
Mindless but entertaining popcorn fodder.
Pay It Forward (7)
Mimi Leder directs this overly sentimental drama about a boy who comes up with a novel idea to make the world a better place. Haley Joel Osment (Sixth Sense) astounds everyone, including his teacher (Kevin Spacey), when he develops the concept of ‘pay it forward’ in response to a class assignment. Basically it boils down to the idea that if someone does you a favour then, instead of repaying it back, you help 3 other people. But living in a broken home with his alcoholic mother (Helen Hunt), Haley Joel Osment finds that putting his idea into practice is not so easy.
The basic premise of this story is definitely the most original of the year. Unfortunately the execution is clumsy, muddled and at time verges on the overly sentimental. The subplot of the journalist trying to track down the origins of ‘pay it forward’ does not intercut well with the main story, whilst the main story itself meanders off-track in choosing to concentrate too much on the burgeoning relationship between Hunt and Spacey. Nevertheless, the 3 central performances by Spacey, Hunt and Osment are all superb. Spacey and Hunt are almost sure to receive Oscar nominations.
One of this year’s better films. Notable for a most original premise and some great performances.
Meet The Parents (5)
Ben Stiller decides that it’s time to pop the question to his girlfriend but discovers that her father (Robert DeNiro) would disapprove if not consulted first. Thus Stiller is invited to ‘meet the parents’ for a weekend. However, Stiller’s mistrust of his girlfriends’ parents is rivalled only by their mistrust of him. Cue plenty of misunderstandings and embarrassing moments as Stiller tries desperately not to show himself up in front of his girlfriend and her parents.
Robert DeNiro comedies are rarely great, and this is no exception. Both Stiller and DeNiro act their parts well enough. However, the bulk of the comedy is derived from embarrassing situations and I, for one, do not go a bundle on this type of humour. Others may think differently, especially those who enjoyed Stiller’s earlier work in There’s Something About Mary.
Personally, I don’t rate this comedy very highly. But given it’s current success at the US box office, what do I know?
Nurse Betty (6)
Renee Zellweger (Jerry Maguire) is a none-too-bright put-upon housewife whilst her slimeball husband runs a dodgy used car business when he’s not cheating on his wife. After witnessing her husband’s brutal murder, Zellweger flips and mentally descends into fantasy land. She sets out to track down her true love Dr David Ravell who is actually the lead character in her favourite ER-style soap opera, played by actor George McCord (Greg Kinnear), unaware that her husband’s killers (Morgan Freeman and Chris Rock) are in pursuit.
Neil LaBute seems unsure of himself when directing the lighter comedic elements of this film. Consequently it lurches unevenly between drama and comedy. Greg Kinnear and Morgan Freeman are always watchable, and Chris Rock pops up yet again this year with a passable performance. But it is Renee Zellweger who far and away carries this film and her performance may well prove worthy of a nomination at the Oscars.
An off-kilter comedy too difficult to categorise and thus consigned to the art circuit.
Billy Elliot (7)
Low budget British comedy drama set against the gritty backdrop of the miners’ strike in 1984. Newcomer Jamie Bell is the title character, the son of a Durham coalminer (Gary Lewis), who discovers an aptitude for ballet. Julie Walters is the local ballet teacher who encourages Billy towards applying for a place at the Royal Ballet School in London.
Jamie Bell puts in a superbly believable performance as Billy. Julie Walters gives an equally impressive supporting performance as his mentor. Both are likely to feature among the BAFTA nominations next Spring, as may director Stephen Daldry.
Given the central themes and the setting for the story, comparisons between this and Brassed Off seem obvious. In my opinion, this doesn’t quite match up to Brassed Off. The central story is just as strong but the story relies too heavily on 2 or 3 performances. Brassed Off was a solid ensemble piece. It also managed to weave it’s setting far more seemlessly into the story whereas, at times, this seems forced. That said, there are a couple of scenes within Billy Elliot which vividly portray the despair of the situation.
Possibly the best British film in quite a while, but there hasn’t been muchy worthy competition this year!
The Hollow Man (5)
Kevin Bacon leads a group of research scientists who have discovered how to make a creature invisible and return it to normal again. Bacon persuades the other team members to keep quiet about their discovery until they have conducted a human trial – on him! But things go wrong and the team find they can't restore Bacon to normality so easily. So Bacon is confined to the research lab whilst the team try to find the answer. But the longer he remains invisible, the more he relishes his new found power.
Paul Verhoeven (Total Recall, Basic Instinct, Showgirls) directs with his normal regard for big budget special effects (which are indeed very impressive) and extreme violence and total disregard of subtlety. This may start out as a straight forward invisible man story but Verhoeven’s film explores the darker side of the subject matter. Those easily offended should note that there are some particularly voyeuristic scenes, and 2 people walked out during the screening that I attended.
The first half is reasonably entertaining (assuming that you can overlook the gaping holes in the plot), but ultimately this descends into a rather average action thriller. I can’t help thinking that there was a good idea lurking here but it obviously disappeared without trace. A film with an entertaining surface layer but disappointingly hollow centre.
O Brother, Where Art Thou? (6)
George Clooney, John Turturro and Tim Blake Nelson are 3 escapees from a 1930s chain gang who go on the run across the state of Mississippi to find a hidden treasure. On their travels they run foul of a variety of strange characters including the Klu Klux Klan, a notorious gunman, a blues singer who has sold his soul to the devil.
Produced and directed by the Coen Brothers and loosely based upon Homer’s Odyssey. Even if, like me, your literary knowledge doesn’t stretch to such classics the film still works as an engaging and off-beat comedy. George Clooney is excellent and this is probably his best film to date. Turturro, Nelson and a host of Coen regulars (including John Goodman and Holly Hunter) provide solid support.
But for all that, this is somehow unsatisfying. Perhaps because I expect more from the Coen Brothers. Or maybe due to my unfamiliarity with the source material. This seems to play as a series of individual scenes which never quite gel into a truly coherent story. That said, the last half hour goes some way towards pulling everything together, and had the first 90 minutes been up to the same standard I would likely be awarding a higher mark.
Keeping The Faith (7.5)
Not only an accomplished directorial debut from Ed Norton, this is also the best romantic comedy to appear on the big screen in the last 18 months. Ed Norton (Fight Club) and Ben Stiller (There’s Something About Mary) are best buddies who are also, respectively, a Catholic priest and a Rabbi. They share unorthodox teaching methods but neither have reason to question their vows until Jenna Elfman (Ed TV) shows up in New York. She is their long time tomboy friend from school whose parents moved West when she was 13. Now she’s an attractive corporate executive hoping to re-live some old times but inadvertantly triggering an uneasy love triangle.
Although this feels reminiscent of romantic comedies of old, the subject matter is anything but. Norton’s movie not only contains a wistful charm, it also boasts a witty script with some sharp observations. Key to all this are the three central performances. Norton and Stiller seem so self-assured in their buddy buddy roles that you could easily shut your eyes and imagine Matt Damon and Ben Affleck in their places. Jenna Elfman’s blend of career ambition and vulnerability is a perfect foil around which to pivot the romantic tension.
Charming, intelligent, witty, and with New York looking its best for many a movie. A more endearing romantic comedy is unlikely to emerge this year.
The Cell (5.5)
Jennifer Lopez is a psychologist asked by the FBI to enter the mind of captured serial killer Vincent D’Onofrio in order that they can identify the whereabouts of his latest victim before she dies. Lopez is part of a team who have developed a means by which they can hook up one mind to another in order to explore the subconscious. Cue plenty of dazzling and disturbing visuals from director Tarsem Singh, better known for his advertising commercials.
At times the film is visually stunning, but this is offset by an incoherent story which tries desperately to be Silence Of The Lambs with a touch of Seven thrown in for good measure. Be warned that some of the scenes are quite shocking and horrific – more so than Seven. With better directing and acting talent, this might have been quite a good film. As it is, it’s a distinctly average but quite watchable psychological thriller just as long as you can stomach the more disturbing imagery.
Scary Movie (4)
Keenan Ivory Wayans directs this spoof of recent horror fare. The plot and the set pieces are primarily derived from 3 movies – Scream, Scream 2 and I Know What You Did Last Summer. It’s debatable as to whether having seen these films is essential to your enjoyment in order that you can spot all the references or a hindrance because you will then appreciate what a lamentable parody this is for the most part.
Few scenes work really well though the initial send-up of the opening scene in Scream and, later, the opening scene from Scream 2 are actually quite a laugh. Other filmic references which work well include Sixth Sense, The Blair Witch Project, The Usual Suspects and (most notably) The Matrix. But any hint that this will be highly original or achingly funny can be dispelled by a glance at the cast list where such character names as Drew and Gail Hailstorm are obviously considered to be clever. Of course, where this really falls down is in the idea of trying to parody such post ironic fare as the Scream franchise when the original material is itself part parody of previous horror film franchises.
You won’t scream with laughter but you might chuckle occasionally.
Snatch (6.5)
When Guy Ritchie directed Lock, Stock & Two Smoking Barrles he single-handedly began a revival of British gangster films. Now, after glut of pale imitations, Ritchie is back with his own pale imitation – albeit a superior one to the rest of the crowd.
Diamond thief Franky Four Fingers
is relieved of his latest gemstone in a set-up masterminded by Boris The Blade
and carried out by bungling small-time hoods. The lads with the stone cross
paths with the organisers of an illegal fist fight, who are in turn in trouble
with a pig-farming hard man after their last fight failed to go the way it was
supposed to. Add in Jews, gypsies and Yardies and it’s Lock, Stock all over
again. Not so much a remix, more of a big budget extended episode of the
spin-off TV series.
Notable names include Vinnie Jones once again, this time as Bullet Tooth Tony, and Brad Pitt as a fast talking gypsy prize fighter. (Think merging his turn in Fight Club with the one in Twelve Monkeys). Pitt just about stands out in what is essentially another ensemble piece. Ritchie’s direction and screenplay are adequate, but unfortunately don’t offer anything more than we’ve already seen. This isn’t as good a movie as his screen debut but it remixes enough of the original elements to provide an entertaining couple of hours.
Shanghai Noon (6)
In China of 1881 a beautiful princess (Lucy Liu – Ling from Ally McBeal) is kidnapped from Forbidden City. Several imperial guardsmen are despatched to recover her safely from American soil, among them the bumbling Jackie Chan. Arriving in the Wild West, there journey is interrupted by an attempted train robbery and a chain of events causes Chan to be parted from the others and subsequently forced to team up with an Irish American outlaw (Owen Wilson – Billy from Ally McBeal).
Cue an engaging light-hearted comedy Western buddy flick with plenty of action and martial arts thrown in for good measure. Though Jackie Chan’s stunt work is not at its best, it is still entertaining nonetheless. The script contains sufficient wit and charm to provide value for money in the comedy department, though without Owen Wilson this might have been a different story. Lucy Liu, having little to do, is disappointing as the princess. However, Ally McBeal fans needn’t worry as Owen Wilson more than makes up for this by completely stealing the show from everyone, Chan included.
This isn’t a film that endeavours to do anything new. It sticks to a formula even though it seems to wander off the beaten track at times. At the heart of that formula is the idea that this film should be fun, and in that respect it delivers the goods.
Samuel L Jackson plays a US Marine colonel charged with leading a mission to safely recover the US ambassador and his family from a Middle Eastern embassy under siege by an angry mob. But when the mission threatens to go sour, Jackson orders his unit to fire on a group of civilians including women and children. To prevent an international incident from becoming something uglier, the powers-that-be charge Jackson with murder. He turns to former Nam buddy Tommy Lee Jones for his legal defence during the ensuing court martial proceedings.
A by-the-numbers military courtroom drama which is watchable despite both leading men acting on auto-pilot. There are no great surprises though there are some interesting ethical questions raised concerning whether it is ever acceptable to fire upon women and children. The film neatly ducks this issue and is perhaps the poorer for it, instead opting for a bout of typical Hollywood courtroom dramatics. The best scenes are perhaps the two initial combat scenarios, the first of which serves to establish the friendship between the 2 men and the second which leads directly to Jackson’s questionable decision to open fire.
Watchable courtroom drama which could have been much better given the cast and the set-up.
X-Men (7)
Based
on the Marvel comic books, X-Men is set in the near future where genetic science
has reached the point where some people now find themselves born with special
abilities. To the rest of humankind, these people are regarded as mutants and
many would have them exterminated. Aware that their existence is threatened, the
X-Men fall into 2 camps. Those led by Professor Charles Xavier (Patrick Stewart)
who believe in cooperation and toleration, and those led by Magneto (Ian
McKellan) who believe that humankind should be exterminated before they
exterminate the mutants. Just discovering all this is new recruit Wolverine
(Hugh Jackman). Soon he finds himself taking sides in the eternal struggle
between Xavier and Magneto.
It
has long been acknowledged by intellectual devotees that Xavier and his nemesis
Magneto are basically Martin Luther King and Malcolm X. Therefore having 2
renowned Shakesperian actors in the leading roles lends credibility to the
proceedings. Add to that a host of other familiar faces (though not always
evident) plus the direction of Bryan Singer (The Usual Suspects) and both the
plot and action thickens sufficiently to provide an entertaining slice of hokum.
Thankfully
Singer shies away from trying to fill in the background story for all of the
characters, not only because there are just too many of them but also because it
leaves the audience wanting more and the chance to provide it in the inevitable
sequels. And sequels there will be, not only because the film has already
performed incredibly well at the box office but because you will come away
actually feeling that you wouldn’t mind watching more.
High Fidelity (5)
Stephen Frears directs this adaptation of Nick Hornby’s novel, the setting for which has been relocated from London to Chicago. (Well, that’s Hollywood!). That it survives this relocation and can rightly be touted as the best date movie of the Summer is largely thanks to a splendid performance from John Cusack (still Hollywood’s most under-rated actor).
Cusack play the owner of a record store (appealing more to collectors than your average Joe) who, having just broken up with his latest girlfriend, reflects upon his previous relationships and tries to analyse them. Iben Hjeijle, Lisa Bonet, Lili Taylor and Catherine Zeta Jones provide solid female support but Jack Black steals the support mantle as Cusack’s store assistant.
No doubt the soundtrack will appeal to many though only parts of it really gelled with me. Likely to provide post-movie amusement as blokes try to establish their top 5 break-ups (I can only list 4) and similar lists. Watchable and entertaining but unlikely to set the box office alight on this side of the Atlantic.
The Patriot (7)
Roland Emmerich (Independence Day, Godzilla) directs Mel Gibson in this tale set against the backdrop of the American Revolution. Gibson plays a former soldier who is more interested this time around in raising his family than heading off to war. But when his eldest son signs up and inadvertently brings the war home to the family, Gibson has little choice but to heed the battle cries.
I fully admit that my own knowledge of this period is insufficient to judge just how much history has been tampered with in the story-telling. Certainly there have been accusations of this. However, at the end of the day, it should be treated as little more than an entertaining yarn – and on that level it works very well. Gibson is suitably heroic and menacing, making comparisons with Braveheart almost inevitable. Obviously there are also similarities with Last Of The Mohicans.
The supporting cast are reasonable, though few of them have sufficient time on-screen to make a mark. It’s encouraging to see Joely Richardson in such a high profile Hollywood movie but she has little to actually do. The battle scenes are suitably exciting and the story contains plenty of bloodshed and tragedy to last the full running time (over 2.5 hours). It shamelessly tugs at the emotions at times, but at least it does so effectively.
But it’s not all good. As usual with Emmerich, there is far too much flag-waving. And many of the supporting cast (notably Mel’s family) look as though they’ve stepped out of Little House On The Prairie. The Patriot is not in the same league as Braveheart but it’s still highly enjoyable.
Mission: Impossible 2 (4.5)
Tom Cruise stars yet again as Ethan Hunt. Gone are most of the team this time around, leaving him with a somewhat James Bond-style role as the good-guy agent trying to track down the bad guy (Dougray Scott) and uncover his evil plan. Along the way he enlists the help of professional jewel thief Thandie Newton. But even the enlistment scene is blatantly ripped off from the car chase at the beginning of Goldeneye. Fortunately, at least Thandie lends the film one hell of a lot of sex appeal!
Though the plot is fairly forgettable, the plot machinations during the elongated mid-section of the movie are, for the most part, far more entertaining than the action set-pieces for which director John Woo is better known. To some extent this is because Woo tries hard to portray Ethan Hunt as an agent with a conscience, but for the most part it is because he brings nothing to the action sequences which fans of his previous work have not already seen countless times before. (And if I see those bloody doves one more time I think I’ll scream!). As if to underline the fact that John Woo is completely devoid of new ideas, I sat there in pure disbelief at one point, wondering where the waterfall was, as Tom Cruise launched into a thinly disguised rip-off of the ‘I will find you’ scene from Michael Mann’s 1992 version of Last Of the Mohicans.
Whilst it contains one or two neat twists, the story doesn’t compare with some of the tortuous plots which were the trademark of the 60s TV series. The ‘unmaskings’ are few and far between and fairly predictable. Some of the action scenes just seem to drag on forever. To paraphrase Anthony Hopkins – this isn’t Mission: Interesting, this is Mission: Unoriginal.
The Best Man (6.5)
Writer / director Malcolm D. Lee may have a promising career ahead of him if hthis debut feature is anything to go by. Served by a largely unknown Black American ensemble cast (The occasional token white is thrown in to appease the PC brigade!), Lee weaves a tale of a novelist on the verge of having his first book published who takes time out for a reunion with his friends on the eve of a wedding for which he is performing the duty of Best Man. Complications arise because the characters and situations described in his book bear more than a passing resemblance to to real life characters and events, and one particular revelation has the potential to cause major embarrassment to the future bride and groom.
Though the initial premise elicits little excitement, this proves to be a sassy romantic comedy with some unusually intelligent dialogue. That it cops out for the inevitable ‘wedding movie’ happy ending is a sad betrayal of the first two thirds of this film which give little away as to where the whole episode might lead. The cast work hard and provide solid performances. The whole thing is rounded off by a worthy rap and jazz soundtrack.
This could easily be pigeon-holed as a hip chick-flick for soul sisters except that the action predominantly surrounds four bruthers. Just view it as an entertaining date movie alternative to Euro 2000.
Chicken Run (8)
Fowl play indeed as yet another chick flick is released to coincide with Euro 2000! Fear not, however, for this full length animated feature by Nick Park and the rest of the Aardman animation team that introduced the world to Wallace & Gromit centres around the escapades of a group of feathered escapee wannabees.
The game heroes of the piece are a flock of chickens cooped up POW-style on an egg farm run by evil Mrs Tweedy (voiced by Miranda Richardson). Realising that the chickens’ egg hatching days are numbered, Mrs Tweedy, aided and abetted by her incompetent husband, contemplates the more lucrative future to be had manufacturing chicken pies. But while the chickens aren’t hatching as many eggs as they used to, they are still hatching plenty of escape plans. Unfortunately all have failed, and all seems lost until a wayward rooster (voiced by Mel Gibson) crashes in on their little hen party.
The tone is set by an opening credits sequence which references not only The Great Escape but several other prisoner-of-war movies toboot. And this is by no means the only genre referenced in this way. But while there is fun to be had in spotting such references, there is much more to enjoy in this superbly crafted comedy. The action may not be as fast and furious as in the Wallace & Gromit films, but the characters are moulded from the same material (!) and are just as endearing. Additional voices are supplied by, amongst others, Julia Sawalha, Jane Horrocks, Timothy Spall and Phil Daniels. Young and old alike will be entertained by the antics of the chickens as their new-found friend, Rocky - the lone free ranger, teaches them to reach for the skies.
You too will believe that a chicken can fly!
Frequency (6.5)
Freak solar atmospheric conditions enable ham radio enthusiast and professianl fireman Denis Quaid to make contact with his son Jim Caviezel (a cop) – thirty years in the future. Hence Caviezel (now living in 1999) is able to warn his father of a tragic mistake which cost Dad dearly whilst attending a warehouse fire back in 1969. This subsequently leads to a distortion of the space-time continuum and a further revelation that, having saved his Dad, Cavaziel now finds that his Mum is in imminent danger from a serial killer and only by advising and guiding his Dad in the past can he hope to save her.
Ultimately this fails by trying to be a little too much of everything. The best scenes come from Quaid and Cavaziel taking across the years, closely followed by some exhilarating fire-fighting scenes reminiscent of Backdraft. Unfortunately, although entertaining, the serial killer element muddies the water too much and adds confusion to something quite promising. Add to this a typically Hollywood schmaltzy ending and this becomes a thriller with a time-travel element that is entertaining whilst on the screen but which will pretty soon fade from the memory when atmospheric conditions return to normal.
Gangster No. 1 (6)
Stylish little British period gangster movie which, whilst never achieving greatness, is certainly one of the best to appear in the wake of Lock, Stock And Two Smoking Barrels. Malcolm Mcdowell plays the ageing Cockney gangster who, upon hearing that mentor David Thewlis whom he betrayed three decades earlier is to be released from jail, reminisces about ‘60s gangland Britain.
If Malcom McDowell shines as the ageing gangster, then Paul Bettany provides no less a performance as the same menacing character of 30 years previous. Thewlis, as usual, is hard to fault. Quite violent in parts, though thankfully littly of it is portrayed directly on the screen.Good performances and some excellent camara work are ultimately toppled by an appalling final reel which is simply not in the same league as the rest of the movie. Quite violent in parts, though thankfully littly of it is portrayed directly on the screen.
Stir Of Echoes (5.5)
Telephone engineer Kevin Bacon comes to view his everyday Chicago neighbourhood from a different perspective after his kooky sister-in-law performs a little hypnosis number on him at a party and ‘suggests’ that he opens his mind. Whereupon his mind becomes attuned to messages from the dead. Of course, his Sixth Sense - style 6 year old son has possessed this ability for quite a while and has formed an uneasy friendship with the ghost of their babysitter’s missing sister. Once she realises that Bacon is also receptive to her thoughts, she switches her attention to persuading him to embark upon a task which his son has hitherto ignored.
A gentle and atmospheric ghost story that suffers from being released into a post - Sixth Sense world Kevin Bacon acts truly like a man possessed as he descends into a kind of Close Encounters style madness a la Richard Dreyfuss. But although the film contains a genuinely creepy atmosphere along with one or two jump-out-of-your-seat moments, it’s downfall lies in the fact that the premise suggested early on is exactly what transpires. Today’s devotees of horror and the supernatural thrive on the occasional surprise twist, which is exactly why Sixth Sense scored so highly whilst this falls flat.
Not bad, but hardly likely to keep you awake at night unless your own babysitter’s sister has gone missing!
Maybe Baby (7)
For his film debut, Ben Elton directs his own screen adaptation of his novel, Inconceivable. Hugh Laurie and Joely Richardson star as the couple trying to have a baby but falling at the first hurdle. Their abortive attempts to create a baby are mirrored by Hugh’s writers block – not helpful in his position as a TV scriptwriter at the BBC. The couple are forced to face the fact they have a problem and enrol on a course of infertility treatment. Results in the baby-making department are not immediately forthcoming, but their experience provides Hugh with the creative spark for a great new film script.
After a string of disappointments earlier this year, British cinema desperately requires a hit. If this comedy can cross the Atlantic, this may just be it. Ben Elton’s wit used to be rapier sharp. Age, wisdom and perhaps his own experience on which the story is loosely based have mellowed him. Nonetheless, even though it almost fumbles the ending, it still contains enough sparkle and wit to entertain for the duration of its running time.
Hugh Laurie is not a typical leading man but, since the role requires a typically English spin, his performance (Moulded in part perhaps upon namesake Hugh Grant?) is amiable enough. While he provides the majority of the comedy, Joely Richardson provides much of the pathos. Cameos from the likes of Brit TV staples Joanna Lumley and Dawn French mainly fall flat, though Rowan Atkinson gets away with his turn as a gynaecologist and Tom Hollander excels as a jumped-up egotistical film director.
This film wins out by virtue of knowing its own limitations. It could just have easily been released for TV as for the cinema and it never tries to disguise the fact. It’s not laugh-a-minute, but then that was never the intention. Whether you treat this as a comedy with dramatic pauses or a drama with funny bits, this has an endearing charm and an intelligence which British cinema has all too rarely seen since Four Weddings And A Funeral.
U571 (6.5)
Hollywood re-tells the tale of yet another American contribution to World War II – how they nabbed a German U-boat and stole an Enigma cipher machine. Only, of course, they didn’t! Well okay so they nabbed one in 1944 but the Brits had already captured 2 Enigma devices by then, the first of which was back in 1942. But enough of the history lesson, just treat the film as an entertaining boys-own war yarn.
The cipher machine acts as little more than a maguffin to spur on the action. This, Jonathan Mostow directs with a level of intensity rivaled by few in this genre. Unfortunately the same cannot be said of any characterisation. Matthew McConnaughy and Harvey Keitel provide solid performances. So to does Bill Paxton, but can’t anyone cast him in a role where he’s allowed to make it to the end credits? The film deserves to be seen on the big screen if for nothing else but its impressive effects soundtrack. The depth-charging scene will almost certainly become a DVD demo for home cinema sound systems.
There’s nothing basically wrong with this film and it is indeed entertaining whilst on the screen, but afterwards it soon fades in the memory thanks to the thin plot and scant historical accuracy. Considering that it’s predominently a blokes movie, I can’t help thinking that its UK release has been mis-timed given that it will run for a bare 2 weeks before Euro 2000 kicks in.
Saving Grace (5.5)
When her husband commits suicide, Brenda Blethyn finds herself herself deep in debt to some of her husband’s business colleagues. So much so that she will lose her home in Cornwall if she can’t raise the money. So when one of the locals takes advantage of her horticultural abilities to resuscitate his cannabis plant, she spies an opportunity to cultivate some cuttings and become a drug dealer.
This is a pleasant enough little comedy. It proceeds at a gentle pace to match the Cornish fishing village setting. A good one for Brenda Blethyn’s CV as she not only stars but also gets to play a softer character than usual. The plot contains no great surprises, and least surprising of all is the ‘cop-out’ ending.
Amiable entertainment which evokes memories of Ealing comedies of yore.
Jonathan Lynn directs this passable comedy thriller. Bruce Willis is a former contract killer, retired since turning states evidence against a Chicago Mob boss. Matthew Perry is a mild mannered dentist, tormented by his wife Rosanna Arquette, who happens to be Bruce’s new nextdoor neighbour. Rosanna persuades her husband to shop Bruce to the Mob, then tells Bruce what Matthew is up to so that Bruce will be forced to kill him. Meanwhile Matthew falls for Bruce’s wife, Natasha Henstridge, who has her own reasons for tracking down her husband.
There’s nothing terribly inventive here. The plot lays double-cross upon double-cross but never provides any real surprises. Bruce Willis and Matthew Perry play exactly the kind of people you expect them to play. That said, Perry has reigned in his Friends persona a little which perhaps is a shame as the film would have benefitted from some faster comedy. There are still some great gags but it’s just not quite funny enough or thrilling enough to rise above being an average comedy thriller.
James Wong directs this teen horror flick which begins with a group of friends escaping a nasty end onboard a doomed airliner after one of their number has a premonition and they leave the plane before it takes off. But having cheated death once, fate isn’t about to let them get away with it again. So one by one they start dying in horrifically bizarre accidents.
Unfortunately the plot doesn’t stretch to much more than the basic premise so the quieter moments serve only as linking scenes from one elaborately staged set-piece accident to the next. Ironically, the best moment (Absolutely guaranteed to have the audience jumping out of their seats!) is delivered without any such set-piece warning. Although some reviews would have you believe the initial plane crash surpasses the one depicted in ‘Alive’, impressive though it is, this is not the case. Where it does score is in the fact that it involves a passenger airliner, not a private charter plane. It is also true of some of the other death scenes – the accidents occur in scenarios that are a little close to home, so be wary if you are squeamish.
An enjoyably scary Friday nighter which is woefully let down by a flimsy plot.
Gladiator (8)
This good old-fashioned sword and sandals tale marks a welcome return to fom for director Ridley Scott. Russel Crowe stars as a victorious Roman general entrusted by the ailing emperor (Richard Harris) to return power to the people. Along with the emperor and Crowe’s wife and child, this plan is short lived thanks to the skulduggery of the emperor’s son (a snivelling Joachim Phoenix). Crowe barely escapes with his own life and ends up a slave condemned to fight as a gladiator under the tutelage of Oliver Reed. Inevitably his success there means that it is only a matter of time before he is afforded the opportunity to compete in the coloseum in Rome itself.
I’ve seen various reviews that compare this with Spartacus and Ben Hur. Though the film is set in the same period of history, it is hardly what I would call a ‘Roman epic’. It is, however, an enjoyable slice of Saturday night entertainment set in Ancient Rome. While certain elements are quite obviously derived from these films (Notably the chariot race from Ben Hur), other structural elements of the film such as the set-piece bouts and the whole sub-commentary on violent sport as a means to quell the masses has more in common with the likes of Rollerball.
The story could so easily have served merely as a means to link the superbly staged action sequences. Fortunately it is more intelligent than that, though by no means a classic. It’s no surprise to me that Russel Crowe (Who, in my opinion, should have taken the Oscar for his role in The Insider) cuts a believably rugged and heroic figure, Joachim Pheonix a suitably whiny emperor. Even Oliver Reed (CGI enhanced due to his untimely death) bows out with a worthy performance. The CGI enhanced colloseum with all its spectators is impressive, but never upstages Ridley Scott’s trademark visual touches so apparent elsewhere. Look no further than the opening 5 minutes for a bloody battle and a man wandering through a cornfield. With these two scenes, Scott effectively evokes all the best imagery from Luc Besson’s recent Joan Of Arc virtually before the story has even begun.
This major Summer blockbuster gets a thumbs up from the Ealing jury.
Scream 3 (5.5)
Possibly the last and definitely the weakest to date of this Wes Craven franchise, but still with enough energy and enthusiasm to entertain whilst on the screen. This time around the action has moved from the sleepy town of Woodsboro to Hollywood, where Stab 3 is in production. Someone seems keen for the movie to remain unfinished as cast members soon begin to meet tragic ends. This turn of events attracts the attention of tabloid journalist Gale Weathers (Courtney Cox), and it’s not long before she is reunited in her search for the killer by previous regulars Neve Campbell and David Arquette. But as Scream 2 victim Randy Meeks informs us in a ameo from the grave, in the final part of a trilogy all bets are off and even the main characters may meet their maker.
The plot is beginning to look tired but some of the action is still timed to perfection to elicit the requisite mix of laughter and screaming. There are few, if any, stand-out set pieces but the film definitely has its moments. (My personal favourite is the knife spinning through the air). There is also a nice comic cameo from Kevin Williamson creations Jay and Silent Bob, plus another from someone connected with Star Wars.
Not one to watch if you are unfamiliar with its 2 predecessors, but just about entertaining enough for those who are.
American Psycho (6)
Director Mary Harron (I Shot Andy Warhol) Takes Bret Easton’s novel published in 1991 and ups the satire quotient whilst dampening the explicit violence. The result is both funny and disturbing in equal measures.
Christian Bale plays Patrick Bateman, a self-obsessed Wall Street broker who is just at home with murders and executions as he is with mergers and acquisitions. The disappearance of a rival trader leads private investigator Willem Dafoe to suspect Bateman’s secret, but this avenue of the plot is never explored properly. Indeed, it is a lack of coherent plot throughout which finally brings this film down in my opinion. Bale’s performance epitomises all that was wrong with the 80s, portraying a character desperate to be loved by everyone without ever liking anyone in return. So instead he recedes into a self-made fantasy world of sex and violence, employing prostitutes to provide him with sexual fulfillment before violently murdering them.
Black humour for the seriously deranged, but you wouldn't want to be seen dead with the soundtrack album!
Galaxy Quest (7)
An affectionate spoof of the Star Trek series which starts from an interesting premise which allows the plot to be developed light years beyond most parodies. Tim Allen, Sigourney Weaver, Alan Rickman and Tony Shalhoub are actors who comprised the mainstays of the crew of the NSEA Protector in the long running fictional TV series Galaxy Quest. The series has been cancelled long ago so now the actors are reduced to making a living off guest appearances at sci-fi conventions. During one such gig, Tim Allen (Commander Peter Quincy Taggart) is approached by a group of people called the Thermians. What Allen fails to realise initially is that they are, in fact, real aliens who have intercepted all the TV transmissions over the years, interpreted them as the real thing, and modelled their entire technology on the Galaxy Quest series. Now their existence is threatened by a mortal enemy and they require Allen’s help to negotiate a peace settlement.
This isn’t just a cheap spoof with a few lame gags. It’s an expensive spoof with with an original plot and some decent actors. Tim Allen plays Commander Peter Quincey Taggart as more Kirk than Picard. Sigourney Weaver is (thanks to a silicon padded bra) busty communications officer Tawny Maddison. The star turn is Alan Rickman who plays the jaded Shakesperian thesp who has the part of half alien science officer Dr Lazarus. The gags are good too, with references to just about everything. The baddie, Sarris, sports an eye patch. There’s also the obligatory nebula, the ‘extra’ who is convinced he’s going to die sooner or later, and a crash landing scene.
That the film also manages to poke fun at the millions of Star Trek fans only adds to its appeal. You don’t have to be a Trekker to enjoy this – though, of course, it helps! And remember – Never say die! Never surrender!
Mission To Mars (3.5)
Brian De Palma directs this slice of sub-standard sci-fi hokum in which a team of astronauts land on the titular Red Planet and accidentally unleash some strange force which kills most of the crew. One survives long enough to broadcast a garbled message so Mission Control dispatch a second team, among them Tim Robbins and Gary Senise, to rescue the first lot. Inevitably, however, problems ensue.
This is a classic example of a big budget, high concept movie with little thought given to original plot development and none whatsoever to the script. Even a lot of the special effects seem lame. Brian De Palma appears to have watched a few of the ‘classic’ science fiction movies from the past 30 years, taken the best ideas from each and thrown them all into the melting pot without ever considering the possibility of having an original thought. That’s not to say there aren’t any good scenes within the film. There are. It’s just that any clued-up member of the audience can spot the references to the infinitely better movies from which they have been derived.
Quite how Tim Robbins got roped into this, I do not know. I can only surmise that he was under the illusion that this could be another ‘Apollo 13.’ Instead he gets to utter dialogue which makes his much earlier appearance in ‘Howard, A New Breed Of Hero’ seem positively thought-provoking! This isn’t the only Mars movie this year. Let’s hope the next one has a more coherent mission plan.
Erin Brockovich (7)
Steven Soderbergh directs this film based on a true story. Julia Roberts stars as Erin Brockovich, a woman whose second husband has left her to bring up 3 kids on her own. Life has not dealt her a happy lot and it’s not made any better by her lack of job skills, even though she is keen and eager to learn. By she force of will, she badgers her way into a small law firm as a filing clerk. Then she stumbles upon the case of a family suffering a string of illnesses whilst the owners of a neighbouring industrial plant (Pacific Gas & Electricity) are attempting to purchase the family’s home. Seemingly separate cases, but bells begin to sound and before you know it Brockovich is busy poring through scores of similar cases. Could it be that some kind of industrial pollution has poisoned the inhabitants of a small town community? Perhaps it is, but how can she and the owner of the law firm (Albert Finney) prove it is so?
The story is pure Hollywood predictability and makes me wonder just how loosely this is based upon true events. Nonetheless it is extremely enjoyable. That this is the case is largely down to Julia Roberts. Forget all your preconceptions – this is probably her finest performance to date. No glitzy romantic heroine. This time her character is derived straight from real life and Roberts gives it everything she’s got. Albert Finney plays the straight man to many of Roberts’ lighter moments, but this is more drama than comedy. Director Steven Soderbergh deftly balances the two elements
Already being talked about as a possible Oscar nomination for Julia Roberts. Worth seeing, if only to be convinced once and for all that she really can act.
Kenneth Branagh brings yet another adaptation of Shakespeare to the screen. The play is one of the Bard’s more obscure romantic comedies and boasts the flimsiest of plots. (Sort of a very watered down version of Much Ado About Nothing). However, Branagh has bolstered this by daring to prune the prose, update the action to 1939 (Each act is preceded by a Pathe-style newsreel) and intersperse the action with musical numbers from the likes of Gershwin and Cole Porter.
This clever notion provides an entertaining slice of whimsy but never quite convinces as a cinematic production. It would probably do far better on the West End stage. With three main attributes to consider (Shakesperian acting, singing and dancing), the performances are understandably variable since some of the cast are quite obviously skilled in the latter categories but are less convincing when delivering the Bard’s prose. Branagh, of course, has no such problems with the prose but looks weak in the dance routines. Padding out the cast of lesser known faces are some of Branagh’s buddies (It wouldn’t be the same without Richard Briers!) and also a few Hollywood names. Alicia Silverstone is an unusual choice for this sort of thing but does surprisingly well. A pitifully under-used Timothy Spall steals the show as a heavily accented ‘Allo Allo – style’ foreign dignitary, especially when he launches into ‘I Get A Kick Out Of You.’
Full marks to Kenneth Branagh for providing us with something a little different. It is evident that the cast had a lot of fun making this film and it is certainly fun to watch. Unfortunately it is neither great Shakespeare nor a great musical comedy, but perhaps it may inspire some kind of musical revival.
Lake Placid (3.5)
Following the break-up of their love affair, New York paleontologist Bridget Fonda is despatched by her boss to a sleepy backwater in Maine to investigate what may be the discovery of a dinosaur tooth. Said tooth having been found in the torn body of a diver who frequented the local lake. She meets up with game warden Bill Pulman and hick sheriff Brendan Gleeson and the trio head off to test the waters, so to speak. The arrival at the scene of renegade scientist Oliver Platt points the finger of suspicion at the prescence of a crocodile and, sure enough, soon afterwards this is confirmed in what is definitely the film’s best moment.
Supposedly a post-modern take on the genre spawned by Jaws, this disappoints on almost every level after promising so much. The characters are barely more than cardboard caricatures. David E Kelley’s script contains a few hilarious one-liners but their delivery is nothing like that in Ally McBeal. Save for the opening scene and the scene in which the croc first appears in full view, the action is also surprisingly flat given that the crocodile itself is superb. In fact, Stan Winston’s combined model/CGI creation is not only the best but, quite possibly, the only reason worth seeing this film.
Accompanied by beer and pizza, this could make an entertaining DVD rental on a rainy day. Otherwise, best not to disturb the water.
Three Kings (5)
As the Gulf War concludes, George Clooney leads fellow American soldiers Mark Wahlberg, Ice Cube and Spike Jonze on an opportunist venture to recover a fortune in stolen Kuwaiti bullion. Supposedly a straight forward in and out job, but what movie heist ever went according to plan?
Basically this is Kelly’s Heroes for the MTV generation. Or at least that’s what it tries to be. But it tries to be a whole lot more aswell and, in doing so, inevitably trips over its own boot laces. Empire describes director/screenwiter David O Russell’s work as “A violent, blackly comic, ultra cool, anti-war satire. A visual powerhouse, visceral rock concert of a movie.” Personally I think that’s going a little overboard but it does capture the essence of what this was perhaps aiming for. There is no denying there are some superb technical flourishes on display but somehow these serve to alienate rather than to endear the audience to what ought to be an amusing heist yarn. And with George Clooney as the lovable rogue dressed in army fatigues and shades, how could this possibly fail?
Technical flourishes aside, the film ironically seems best during the quieter moments when explaining some of the politics of the situation. (The soldiers eventually find themselves trying to help a bunch of locals fleeing the tyranny of Saddam’s soldiers). The acting from the leads is fair, but never worth writing home about. Of course, that won’t matter for those women in the audience busy drooling over George Clooney. Hell! He even manages the full ER medical drama bit at one stage in the proceedings.
A light-hearted war film for those who like their movies presented as full length MTV pop videos.
Magnolia (8)
Paul Thomas Anderson (Boogie Nights) directs this well crafted ensemble drama. The pivotal characters are two men dying of cancer. One is a TV producer (Jason Robards) and the other is a quiz show host (Philip Baker Hall). Robards’ second wife (Julianne Moore) is no help as she is probably knocking back more of his medication than he is, so private nurse Phillip Seymour Hoffman attempts to contact Robards’ son (Tom Cruise) who runs a business devoted to empowering men as sexual predators. Unlike Robards, Hall has a devoted wife but she is distrustful of the reason why they never see their daughter. And on the set of Hall’s quiz show, the latest wunderkind is at odds with his father whilst, offscreen, former childy prodigy William H Macy demonstrates how easy it is to lose your way in life if nobody cares for you and you have no-one to care for in return.
The solid ensemble cast provide some engrossing performances, from which Julianne Moore and Tom Cruise truly stand out. For proof of this, look no further than the fact that the film is totally engrossing for over 3 hours even though the story meanders all over the place. Of course, director Paul Anderson deserves a share of the credit for this. So to does Robert Altman, for this film bears more than a passing resemblance to Short Cuts. Similarities include the structure of inter-relationships between characters and storylines and freak weather conditions in the closing stages. (The frog is a Dolby Digital moment!)
However, engaging as it is, the film takes a little too long to expound its message – that people who have no-one to care for or no-one to care for them are lonely, insecure and liable to become one of life’s losers.
Joan Of Arc (5.5)
Luc Besson directs second wife Milla Jovovich (with whom he has since parted company) in the title role of this 15th century legend. The tale begins with events in her childhood when she loses her parents to the hands of the marauding English soldiers and continues with her ‘calling’ from God. The pace quickens when, at the age of 17 or 18, she visits the Dauphin and demands to be allowed to lead the French army against the English to recapture Orleans. One enormous victory to her credit, she then marches on Paris where events take a downward turn – culminating in her betrayal by her own people and her eventual demise on a fiery stake.
Whilst Luc Besson just got away with casting Jovovich in The Fifth Element, this time around the casting is pure self indulgence. To be fair, she cuts a dashing figure when charging around in a suit of armour, but her real acting abilities are soon exposed when conversing with the French aristocracy (John Malkovich, Faye Dunaway) or God (An unusually tall looking Dustin Hoffman). The heavyweight names lend the film some gravitas but their dialogue does it few favours.
Where the film really scores is with the battle scenes. These are gloriously depicted - with blood, gore and severed limbs aplenty. I think it is fair to say that, Saving Private Ryan excepted, these are the bloodiest battle scenes since Braveheart. Of course, the whole movie looks good. This is a Luc Besson production after all! But as historical comment on a famous legend, I cannot vouch for its authenticity.
In a word: Braveheart-lite.
The Limey (5)
Terence Stamp stars as a middle-aged Cockney recently released from jail after doing 9 years for armed robbery. Whilst inside, his twenty-something daughter died in a ‘car accident’ (It ran off a cliff) in the States so Stamp travels to America to ascertain the truth. The trail soon leads him to a wealthy music producer (Peter Fonda) who appears to be running a drug operation on the side. Stamp is convinced that Fonda is responsible for daughter’s death, probably because she found out about the drugs, and determines to punish him.
Steven Soderbergh directs this semi hard-boiled crime thriller with a degree of realism and intelligence which goes a long way towards compensating for the thin plot. The acting is barely worthy of mention. Both Fonda and Stamp are watchable, though the latter has a tendency to overdo the Cockney rhyming slang. Some of this is intentional since the Americans evidently treat the Englishman as a joke rather than a real threat, even though Stamp establishes his hard-man image very early on. A film which certainly has its moments, not least the poignant denouement, but which will probably fade from memory fairly quickly.
The Green Mile (7)
Following on from The Shawshank Redemption five years ago, Frank Darabont directs his second adaptation of a Stephen King prison story. This one is set in 1935 (Yes, I know the novel was set in 1932!) and is told in a flashback from the present day. The story centres around a group of prison guards led by Tom Hanks and events which they witness on Death Row after the arrival of condemned murderer John Coffey (Note the initials!) who happens to possess some mystical healing abilities.
Comparisons with The Shawshank Redemption are inevitable, and The Green Mile just isn’t in the same league. Not least among the reasons for this is that the film tells a slighter tale in a longer running time (3 hours), though admittedly it never drags. Tom Hanks’ performance is faultless but never really sets the screen alight and is unlikely to nab an Oscar in the face of this year’s competition. The supporting roles are competently handled. The film’s main strength is in Frank Darabont’s assured directing skills. The action is gently paced but never dull and is punctuated by three executions which, to some extent, divide the tale into three distinct segments.
But high production values and some fine acting couldn't prevent me from coming away wondering why it took 3 hours to tell this essentially straightforward tale. Like Darabont's previous film, it's an accomplished piece of work. Ultimately though, it isn't nearly as profound.
Neil Jordan acts as screenwriter and director for this adaptation of Graham Greene’s novel set in 1940s London. Mild mannered Stephen Rea is a government beaurocrat who confides to Ralph Fiennes that he suspects his wife Julianne Moore to be having an affair. Fiennes isn’t overly surprised since he himself had a secret affair with her during the early years of the war until she abruptly ended it. He finds himself jealous of this potential new lover and hires private detective Ian Hart to discover the identity of this stranger.
It’s a period love story with a nice feel to it and attention to detail. Fiennes and Rea give good performances whilst Moore lacks a little credibility during the closing stages – just when she needs it most. Ian Hart is undoubtedly the best of the lot. Where the film loses big time is in its complete lack of pace. Everything about this makes it a cozy film with which you could quite happily fall asleep while watching TV on a Sunday afternoon, but I’m not sure it will fare too well in a buzzing multiplex. Nonetheless, the subject matter and the film's gentle pace will appeal to older cinema-goers.
The Beach (7)
The Trainspotting talents of director Danny Boyle and screenwriter John Hodge are reunited for this tale of the backpacker’s ‘urban myth.’ Leonardo DiCaprio stars as the American backpacker in Thailand who, thanks to an encounter with a crazed Robert Carlyle, comes into possession of a map detailing the location of the perfect beach on an unspoilt island. He teams up with a French girl (Virgineye Ledoyen) whom he fancies and her boyfriend, and together they set out to find the backpers’ ‘Holy Grail’. Once there, they discover a whole backpacking community who have opted to live on the island.
Cinematographer Darius Khondji (Alien Resurrection, Seven) provides some breathtaking scenery on which to focus when the action drags, which it rarely does. The adaptation of Alex Garland’s novel has been more than a little controversial and fraught with rumour but the end result is certainly entertaining. At least it makes a change from all the other ‘backpacker in Thailand’ movies where the main character gets caught smuggling drugs and spends the rest of the movie protesting their innocence.
Leonardo DiCaprio is effortlessly believable as the young American traveller, a little less credible during his ‘Apocolypse Now’ phase – though I suspect his character’s fixation on ‘Nam movies is better explained in the book. More impressive is DiCaprio's narration of the story which, while it never lets up throughout the film, is never tiresome. Tilda Swinton also deserves mention as leader of the beach community but few are likely to dispute that Robert Carlyle's drug induced lunacy steals the show. On the surface this movie offers nothing more than a good night out but the story contains several elements which will inspire postmortem discussion in the pub afterwards. Flawed but enjoyable.
In this, the second remake of William Castle’s tale of horror to be released in the last 6 months, Geoffrey Rush stars as the self-made billionaire who invites a group of strangers to spend one night in a former asylum rumoured to be haunted by the inmates who died there back in the 1930s. On offer is $1m to each of those who survive the experience. However, not only is the building rigged with many devices designed to scare the wits out of those present, but there appears to be a constant feud between Rush and his wife (Famke Janssen) which threatens to become deadly. And on top of all that, there is some confusion as to who or what has actually drawn up the guest list since neither the billionaire nor his wife claim to have invited those present.
This Joel Silver / Robert Zemeckis production directed by Willaim Mallone lacks the lavish sets of Jan De Bont’s ‘The Haunting’, but makes up for it with a touch more atmosphere and a greater sense of fun. Geoffrey Rush and Famke Janssen are particularly entertaining as the bickering host and hostess. Presenting Rush as a theme park designer is a clever move as it not only provides a credible background story to account for both his money and the elaborate gadgets installed in the house, but it also gives rise to an exciting opening 10 minutes at the site of his latest theme park ride.
Unlike last year’s movie, this concentrates more on the ‘staged’ haunting and less on the ‘real’ one. Consequently, when the house takes control of proceedings it is all over quite quickly with only the briefest of explanations. At a mere 95 minutes this is a running time much more suited to the material than Jan De Bont’s overblown effort, but perhaps it could have made use of an extra few minutes in the closing stages. Neither remake could be termed ‘worthy’ but this latest effort offers greater entertainment than last year’s offering.
Stigmata (5.5)
Patricia Arquette comes into possession of some rosary beads and soon after begins displaying symptoms of stigmata – wounds associated with the death of Christ. Gabriel Byrne is a priest with a scientific background sent by the Vatican to investigate this phenomenon. But as the stigmata becomes more pronounced, Byrne begins to suspect that what he is witnessing is indeed genuine and that the Vatican is desperately trying to hide something.
The film treads vaguely similar ground to The Exorcist and Patricia Arquette tries her best at times to give her best Linda Blair impressions. Hardly surprising really, as this is the second film already released this year in which she has regularly visited the A&E ward of a major US hospital. Gabriel Byrne must also be going through something of an identity crisis. Only 2 months ago he was the Devil incarnate doing battle with Arnie in End Of Days – now here he is as an employee of the Vatican!
This might have been an interesting story but somehow it lacks conviction, perhaps partly due to a reliance on flashy special effects at key moments. Nonetheless, it is enjoyable enough popcorn fodder.
Double Jeopardy (5)
Ashley Judd is a woman wrongly imprisoned for the murder of her husband after the coastguard finds her alone on a yacht awash with blood and with a knife in her hand. She leaves her son in the care of her best friend while she does her time, but later has reason not only to distrust her friend but also to believe that her husband may not be dead at all and is, in fact living with friend and child. Upon release, Judd is determined to learn the truth and kill her husband for real this time around. When she goes missing, her parole officer (Tommy Lee Jones) heads off in pursuit.
This is an easy on the eye woman-in-peril mystery thriller. Hardly gripping but enjoyable nonetheless. Tommy Lee Jones is always watchable, even though he can play this sort of role in his sleep. Bruce Beresford directs the action with sufficient pace to while away a pleasant couple of hours.
Rancid Aluminium (2.5)
For those who revel in watching really bad movies this is a gem, the likes of which I haven’t seen for quite some time. The somewhat baffling plot centres around a young man (Rhys Ifans) who inherits the London-based family business only to discover it is deeply in debt to the Inland Revenue. However, his partner (Joseph Fiennes) has shady dealings with some Russian gangsters run by Stephen Berkoff and Tara Fitzgerald and soon arranges a loan. The two of them travel to a Bavarian castle to finalise the deal, which is where life really gets complicated for Rhys Ifans as he falls for Tara Fitzgerald even though he is still deeply in love with his wife, Sadie Frost.
A low budget British film which really should have gone straight to video. The plot is confused and the characters one-dimensional. Even the inclusion of Tara Fitzgerald and Sadie Frost fails to deliver as much titillation as one might expect from 2 less than reticent actresses when it comes to kit-off scenarios. The only way to enjoy this movie is to revel in just how bad it truly is. Of particular note are the soundtrack which seems to have been lifted straight from some 1970s soft porn film, and Tara Fitzgerald’s comic-book Russian accent.
Only 3 weeks in, and already a contender for worst film of the year!
Sleepy Hollow (6.5)
A Fantasy / horror tale adapted by director Tim Burton from a short story. Johnny Depp stars as an unorthodox (for 1799) New York policeman sent by his superior (Christopher Lee) to investigate some mysterious deaths in the village of Sleepy Hollow. It soon becomes clear that while motives for murder abound among the villagers, the bigger mystery involves the means by which the victims are apparently being despatched. A headless horseman, no less. Apparently the spirit of a deceased hussar from the American War Of Independence.
As expected with a Tim Burton film, it looks absolutely magnificent. Unfortunately the expanded short story doesn’t fill out the 2 hour running time particularly satisfactorily. Nonetheless, with a cast comprising Christina Ricci, Michael Gambon and Miranda Richardson among others, it is still extremely watchable. And most of the cast seem suitably self aware not to treat the material too seriously, providing slightly hammy performances which inject the whole venture with a comfortably familiar ‘Hammer Horror’ feeling. Of course, Christopher Lee’s early cameo only helps to set the tone!
Not the most successful collaboration between Tim Burton and Johnny Depp, but still enjoyable fare for the new year.
Phillip Noyce (Dead Calm, Patriot Games) directs this by-the-numbers serial killer thriller. Denzel Washington is a forensics expert, bedridden thanks to an accident a few years earlier. Angelina Jolie (Playing By Heart) is a New York street cop who discovers the first victim and displays great ingenuity in photographing and preserving the crime scene. Washington is asked for his assistance on the case and insists that Jolie also be assigned. So she does all the running around while he pieces the puzzle together from his bedside. And there are lots of pieces because this particular killer deliverately leaves obscure clues regarding his next victim.
The initial premise seems promising but the action is handled in such a way that after a while it just settles into a pattern of Jolie wandering around gloomy tunnels discovering victims of the grotesque murders and collecting evidence at the behest of Washington. The final revelations are hardly surprising and the denouement borders on the ridiculous. That said, Washington is always watchable and Jolie tries hard to make something of the limited material.
Summer Of Sam (6)
Set in New York City during the hot Summer of 1977, this film doesn’t concern itself with the serial killings themselves or the ensuing manhunt for the self-styled ‘Son of Sam’ so much as the general feelings of unease and suspicion which consumed a community. The reasonably solid ensemble cast (including the likes of Mira Sorvino and Anthony LaPaglia) portrays an Italian-American cross-section of characters from the Bronx, each with their own personal issues and petit squabbles. The series of random killings serves to both exacerbate these differences and, at the same time, put them in some sort of perspective.
Spike Lee here directs a slice of life depicting a particular era in New York. To that extent his attention to detail evokes strong memories of the 70s. As a commentary on how such events can transform a community, this is an interesting work. Nonetheless, the story somehow seems incomplete without more information regarding the efforts by the police to catch the serial killer. Lee provides snippets – glimpses of the killer, a conversation in which the police approach the local mafia for assistance, TV reporting of the final arrest – but only enough to heighten the viewer’s interest and leave them wanting more.
Ultimately how much you enjoy this movie will depend upon how much you care to understand about this particular community at this particular point in time.
Martin Scorsese directs this adaptation of Joe Connelly’s novel about what it is to be a paramedic working the graveyard shifts in New York. Nicolas Cage is the over-worked paramedic in question who, together with colleagues Ving Rhames and Tom Sizemore, is called out to attend an assortment of drunks, heart attacks, drug overdoses and the like. It’s fairly depressing stuff but Scorcese’s technical expertise injects a degree of watchability into the proceedings. There is also a romantic sub-plot involving Patricia Arquette as a woman standing vigil over her dying father – one of the patients whom Cage saves early on in the film.
The film is aimed as a peek into the lives of the paramedics. There is little in the way of a well-defined story. The romantic interest with Patricia Arquette and another sub-plot to do with Cage exorcising his own demons serve as devices to provide some sort of a beginning and end. Personally, I found this lack of narrative structure frustrating. Others may not. The Medical scenes are handled competently and without too much gory detail, though those who shy away from TV shows like Casualty may do well to treat this with a little caution.
Altogether this paints a bleak picture for the future of our own health service given all the recent talk of just how stretched it is.
Anthony Minghella (The English Patient) directs this remake of French film 'Plein Soleil', itself an adaptation of the novel by Patricia Highsmith. Matt Damon stars as Ripley, tasked with travelling to Italy to persuade playboy Dickie Greenleaf (Jude Law) to return to England. However, he soon discovers that he rather fancies both the playboy and his lifestyle. So when the opportunity presents itself, Ripley strikes out to seize that which he desires. But threatened with being exposed for what he really is, he is forced to weave an intricate web of deceipt.
What begins as a lively period drama eventually develops into a hitchcockian-style thriller. Matt Damon is watchable as ever but it is Jude Law who actually shines in his role as the playboy. Gwyneth Paltrow and Cate Blanchett provide able support though unfortunately the latter is sorely under-used.
The film would have benefited immensely from some tighter editing - at well over 2.5 hours, it's at least 20 minutes too long. Fortunately the marvellous Italian scenery is a helpful distraction in this respect. Entertaining period thriller of the kind not seen for some time in the cinema.