Toy Story 2 (8)
Sequel to the movie which, more than any other, has helped to revolutionise animation standards over the past decade. Woody discovers his roots after being kidnapped by an evil toy collector who wants the doll to complete a valuable collection which he plans to sell to a toy museum. Buzz Lightyear and some of the other toys have to leave the house and travel across town to rescue Woody. Along the way they are forced to negotiate hazardous traffic and automatic doors (not so easy to operate when you’re a toy!) before finally encountering Buzz’s evil nemesis, Emperor Zorg.
Exciting animation sequences (especially the opening 5 minutes) combined with great humour and a pre-established range of characters make this sequel every bit as good as the original. Possibly better, since the story is stronger and dares to introduce relatively complex notions (for a child) of the relationships between children and their toys and toys as collectors items. This element will certainly provide greater entertainment for adults. There are also numerous in-jokes and don’t leave during the closing credits or you’ll miss one of the funniest sets of ‘out-takes’ ever.
Ultimately though, this is fast, funny and beautifully animated. The kids will love it.
Dogma (7)
Writer/director Kevin Smith (Clerks, Mallrats, Chasing Amy) provides his own unique analysis of Catholicism and its view of religious mythology in this intellectual (though sometimes confusing) comedy. Matt Damon and Ben Affleck are a pair of fallen angels who plan to take advantage of a New Jersey cardinal’s offer to absolve anyone who walks through the doors of his church of all their sins. So if the banished angels cut off their wings, thus becoming human, and are then forgiven for their sins they will once again be welcome in the house of God. But this would imply that God’s decision to banish them in the first place was a mistake – and God doesn’t make mistakes! Cue the end of the world as we know it. Plans are therefore hatched to prevent this from happening. These involve Linda Fiorentino as a reluctant heroine, Salma Hayek as a muse, Chris Rock as a black apostle and Alan Rickman as Metatron, the official voice of God. All that plus Smith regulars Jay and Silent Bob.
The action ranges through satirical philosophical comment to schlock horror to frantic chase movie punctuated by the gradual introduction of more and more characters into the mix. It is this last element which slows everything down and occasionally threatens to overwhelm the proceedings as it becomes increasingly difficult to grasp who everyone is and which side they are fighting for, especially if you lack any in-depth knowledge of religious mythology regarding God and his minions or you don’t know your muses from your seraphims! Some of the acting is variable but Smith and Damon are watchable as ever. And Alan Rickman as seen-it-all-done-it-all Metatron is an absolute hoot.
If you are deeply religious and take it all very seriously then there is plenty of potential for major offense taking. If however, like me, you believe it’s the greatest fairy tale ever told and you enjoyed Kevin Smith’s previous movies then you are likely to find this rather amusing.
Mystery Men (3.5)
William H Macy, Ben Stiller and Janeane Garofalo are among the superhero wannabees who step into the breach to save Champion City from the evil Casanova Frankenstein (Geoffrey Rush) after the mysterious disappearance of Captain Amazing (Greg Kinnear). Unfortunately their super powers don’t stretch to X-Ray vision, the ability to fly or other such useful attributes but they are pretty adept with shovels and bowling balls!
Adapted from a Dark Horse comic strip, the film gleefully lampoons the likes of Batman, Superman and other such regular heroes. Indeed, the whole thing could have been extremely funny but somehow a lot of the satire just seems to fall flat. Evidently bungling not-so-super heroes just aren’t particularly entertaining. The American audiences certainly thought this to be the case and, for once, I have to agree with them.
The Iron Giant (7)
Full length animation adapted from a children’s story, The Iron Man, penned by the late Ted Hughes. The year is 1957 and Sputnik is in orbit. The Americans are in wholesale worry mode over the Communist threat. One night a mysterious metal monster crashes to Earth and is befriended by a little boy who first rescues him and then helps him to hide out in a nearby junkyard. Through the boy, the giant begins to learn that war is not a good thing. But when the military show up and adopt their usual ‘shoot first and think afterwards’ strategy, the giant is powerless to prevent his automatic defence mechanisms from kicking in.
It’s an unusually intelligent story for this kind of animated treatment. The animation is beautifully drawn in the style of 1950s cartoon strips, lending it a greater resonance with the audience. It’s difficult to say whether kids used to Rugrats, Star Wars, Pokemon et al will really relate to this virtually action-free tale. However, the few that were in the audience when I watched this film remained silent throughout. Parents should have no such problems and will probably enjoy it as much as their children.
Based in part on the true story of Anna Leonowens, a widowed British schoolteacher who travelled to Siam in 1862 to tutor the King’s family in the ways of the world. Inevitably it develops into a tale of culture clashes and blossoming romance. The story has previously been adapted 3 times – best known as The King And I, starring Yul Brynner and Deborah Kerr.
Director Andy Tennant forsakes the songs and instead opts for a big budget period drama, replete with an impressive array of colourful sets and costumes. Jodie Foster brings depth and gravitas to the character of Anna while Chow Yun Fat admirably conveys to Hollywood that he may have talents hitherto unexplored by all those John Woo action movies. Those concerned that they might be roped into seeing some slushy romance need not fear, since the story stops short of falling into that trap and instead concentrates far more on the politics of Siam’s relationship with its foreign neighbours at that time.
By no means a masterpiece but still hugely enjoyable. Expect Oscar nominations for Best Actress, Best Costumes, Best Score and undoubtedly Best Cinematography.
Taxi (4)
French, English subtitles
Gerard Pires directs this short and shallow action movie from writer/producer Luc Besson. The plot involves a would-be rally driver employed as a taxi driver. Surprise, surprise - he gets caught for speeding but is offered the chance to retain his licence by an enterprising, but extremely lame-brained, cop who needs a driver to help him catch a gang of armed robbers. Said gang are pulling heists at major banks all over Marseilles and making their getaway in a souped up red Mercedes.
Pitched half way between actiomn movie and typical French farce, this never truly achieves either. This could have had the makings of a good movie if the characters and the plot had been fleshed out a bit more. Instead the story is held together by a series of high speed car chases and shoot-outs, some of which come across well and some of which are just plainly stupid. Notable for one moment of brilliance when the taxi driver is called upon to drive a fare to the airport in double quick time and out-Bond’s Bond. Otherwise, take the bus and use the saving to rent the video.
End Of Days (5)
The end of the millenium is almost upon us and everyone wants to celebrate. Even the Devil wants to grab some New Year’s Eve nooky with Robin Tunney so he can sire an heir and plunge the world into a thousand years of darkness. The pope has despatched his best people to protect Tunney but a few in the Vatican feel the best way to safeguard mankind is to kill the woman before the Devil can have his evil way. Only one man can maybe save both the girl and mankind, but he’s off battling Robert Carlyle. Instead it’s Arnie as ex-cop Jack Cocaine (note the initials) who inadvertantly ends up in the firing line. And as we all know, Arnie loves to shoot back!
Evidently a few shots went astray - which would account for the gaping holes in the plot. Nevertheless, on a superficial level it’s fun to see the Austrian back doing what he does best - getting mad and shooting things! The plot seems like an attempt to marry Omen III with Terminator 2 but the characterisation and storyline just don’t match such high concept. Save for some impressively expensive special effects, even the action seems to lack Arnie’s usual sparkle. Only Gabriel Byrne (the human face of Lucifer) walks away with any credit. Clearly he relished the opportunity to play such a mean-spirited character.
Good to see Arnie back in action, but really only one for his fans.
Pierce Brosnan’s third outing as Britain’s least secret agent is a mixed bag, so it all depends on your preferences as to how you view this one among the rest of the series. The plot contains a little more substance than usual (though please bear in mind we’re talking about a Bond film here!) but basically it comes down to an attempt to blow up the oil fields in the Middle East. Robert Carlyle makes a suitable, if possibly under-used, baddie. Sophie Marceau has an unusually complex female role as the daughter of a murdered oil tycoon who may herself be in danger. Denise Richards plays the more tradional Bond girl role.
The action zips along at a fair pace, beginning with a highly entertaining speed boat chase on the Thames. Pity it leads into one of the worst title songs for some time (And that after Sheryl Crowe last time around!). From then on it’s the usual assortment of Bond-style heroics, though the usual car chase cleverly fails to materialise just when you expect it, and thus provides the most exciting action sequence of the movie.
All the regulars are present. Brosnan wears the Bond mantle like a Saville Row suit. Judy Dench’s role as M is fleshed out a little more this time around, though unfortunately she doesn’t get to deliver any really dramatic speeches. Desmond Llewellyn bows out (finally!) as Q, to be replaced by John Cleese as the new gadget technician. Beyond that, it’s just as you would expect - all the Bs. Bond, babes, baddies, bombs, boats and BMWs.
Hardly a classic in the series but hell it’s James Bond, and that invariably means a fun night.
Random Hearts (5.5)
Harrison Ford stars as an Internal Affairs cop who is not only forced to come to terms with the fact that he has lost his wife in a plane crash, but that she was having an affair with the man seated next to her on the aircraft. Said man proves to be the late husband of an up-n-coming congress woman played by Kristin Scott Thomas, equally unaware that her partner was seeking solace in the arms of another. As the two of them begin to unravel the details of their partners’ clandestine relationship, so too they discover an attraction for each other.
A distinctly flimsy and unexciting premise is saved from sinking with the plane, thanks largely to the watchable onscreen performances of the two leads. Sydney Pollack’s direction falters occasionally - the plot rarely maintains a steady pace and the story has a tendency to meander at times. The 135 minute running time would probably have benefitted from having 15-20 minutes lopped off, but nevertheless this is a gentle romantic drama which endeavours to treat its subject with warmth and intelligence.
The Fight Club (6)
Directed by David Fincher, this is apparently a black comedy. It’s black alright! But a comedy? Ed Norton stars as a terminal loser who gets his kicks from attending support groups to hear other peoples’ grief. Later, after his apartment has mysteriously blown up, he gets into a street brawl with Brad Pitt and discovers that to be much more fun. Thus the two of them create the ‘fight club’ of the title, a place where people come to beat the living daylights out of each other. But as the club membership grows, so too does Ed Norton’s suspicions about Brad Pitt’s real intentions.
If you haven’t already read the tabloid press then be warned that this film is, at times, brutally violent. It is also easy to read into this a call to arms for a generation of Fascistic junkheads. But stick with this and the real message will eventually become apparent. Not, however, before a completely unforeseen plot twist which is as bold as it is stupid. The film addresses many issues. Not all these episodes drive the plot forward but they certainly give pause for thought.
Visually the film is very impressive, but it often resorts to unnecessary depictions of violence to achieve this. (The last 2 minutes are a fine example of this). Ed Norton delivers another fine performance, while even Brad Pitt delivers his best since Twelve Monkeys. Oscar nominations may be forthcoming but are likely to be scuppered by controversy surrounding the film’s content. No matter what your own opinion of this film, you’ll be expounding it at length to your mates in the pub afterwards.
East Is East (5)
Comedy about a Pakistani family living in living in Salford in 1971. Om Puri stars as a father who disowns his eldest son after he flees an arranged marriage. Anxious to save face among the Asian community, he redoubles his efforts to enforce a strict Muslim upbringing upon his other 6 children. But having lived in Britain all their lives, and encouraged by their English mother (Linda Bassett), they have other ideas. So when their father tries to arrange another marriage, the usual family bickering becomes even more intense.
Those like me who remember similar concerns being voiced by Asian friends at college will realise that behind all this is an intelligent story crying to be told. Unfortunately attention to period detail and a good ensemble cast are weighed down by a script which too readily resorts to pissing and swearing gags for its humour. Besides an excellent performance from Om Puri, the film’s saving grace is that it keeps the action tightly centred around one family and steers clear of the usual racial stereotyping.
American Beauty (7)
A black comedy (emphasis on black) in which Kevin Spacey plays a middle aged man who finally wakes up to the fact that he is living a suburban nightmare. His wife (Annette Bening) hates him, his daughter (Thora Birch) regards him with contempt and he is just as unappreciated at work. Finally spurred into action by the flirtations of his daughter’s best friend, Spacey decides to stop living the lie and have a little fun instead. It can only end in tears!
An impressive film directorial debut by acclaimed British theatre director Sam Mendes (Glegarry Glen Ross, The Rise And Fall Of Little Voice, The Blue Room). As ever, Spacey provides an entertaining performance, as do Birch and Bening. Indeed it is the latter who will likely nab an Oscar nomination for her role as the uptight wife.
The script, by first timer Alan Ball, could perhaps have benefitted from a little more humour and, just possibly, a little less advance signposting of some obvious twists. (Once you spot the pattern in the character revelations, the rest are easy to predict). An intelligent black comedy, nicely
Simpatico (4.5)
Directorial debut by Matthew Warchus in which the lives of 3 friends (Nick Nolte, Jeff Bridges, Sharon Stone) are forever altered by a fateful decision made years before when plotting a horse-racing scam. 20 years on, Stone is married to Bridges and together they own a successful Kentucky horse farm. Note is would-be private detective living in Los Angeles. But now it’s time to settle old scores.
Do not go to see this expecting a crime caper. Instead this is more a study of how peoples’ lives can turn on a single event. The direction and acting are nothing to get excited about but there is some nice cinematography. A rather gentle tale with which to idle away a couple of hours.
Brokedown Palace (5)
Two Aamerican students (Claire Daines and Kate Beckinsale) embark on a holiday to Thailand. During their adventures, they come into contact with Daniel Lapaine who bales them out of a sticky situation after they have snuck into a classy hotel. Daniel is travelling to Hong Kong and invites them to join him. But at the airport, the girls are arrested for smuggling heroin. Though the girls protest their innocence, the Thai authorities are not sympathetic to their plight. Only a two-bit American lawyer (Bill Pullman) shows any interest in their case.
Directed by Jonathan Kaplan, the film contains solid performances form Claire Danes and Kate Beckinsale. Producer and writer Adam Fields evidently had a very personal interest in this project, some of which clearly shines through. But for all that, there really isn’t anything here which we haven’t seen on the screen before. A cautionary tale for those planning a trip to the Far East, unlikely to set the boc office alight.
The Criminal (6)
Neo-noir conspiracy thriller set in the heart of London. Steve Mackintosh chats up a girl in a bar, invites her back to his place and murders her. At least that’s what the police (led by Bernard Hill) think, and coroner Eddie Izzard’s evidence suggests nothing to the contrary. But Mackintosh knows that someone else was there, but he doesn’t know who or why - but they’re after him now.
Young British director Julian Simpson’s debut feature is an entertaining and intiguing low budget thriller. The acting is nothing special, but the film makes clever use of unusal London locations which are just around the corner from those you know - providing an uneasy sense of familiarity to the setting. In retrospect it is possible to spot flaws, but while it’s on the screen the action moves swiftly enough to carry the audience with it - providing one or two surprises along the way.
On this performance, Julian Simpson may be an up-n-coming British talent to worth watching out for in the future.
Crazy In Alabama (5)
Set in the mid-60s, Antonio Banderas' directorial debut is a strange mix of comic road movie and civil rights issues. Events are mainly viewed through the eyes of a young Alabama boy Peejoe (Lucas Black) whose Aunt Lucille (Melanie Griffith) goes on the run to Hollywood after killing her husband. Meanwhile, back in Alabama, Peejoe learns quickly what it means to be free when he finds himself sympathising with ‘the other side’ after witnessing a race attack.
Antonio Banderas seems to have tried to put 2 movies into one and, in so doing, has failed to produce a coherent story from either. Griffith’s girl-on-the-run segment is pure by-the-book road movie comedy whilst the arguably better civil rights segment deals with very serious issues. Griffith’s performance is entertaining, as is Black’s - though his is barely any different from countless US TV shows in which he has appeared.
The moral of the film seems to be that you can’t run away from such issues for ever. But if that’s the message then it’s not put across very well. A distinctly average directorial debut.
Jin-Roh (4)
Japanese animation set in an alternative post-war reality where a fully equipped armed police force frequently clashes with street mobs orchestrated by a band of urban guerillas called the Sect. It is the sworn duty of one elite division, feared even among their own kind within the force, to wipe out the Sect. To this end, they devise an elaborate plan.
It’s difficult to say exactly why this fails to excite the imagination. The plot is overly elaborate for this kind of film and there is actually too little action. First time director Horoyuki Okiura and screenwriter Mamoru Oshii (previously screenwriter and director on Ghost In The Shell) seem intent on relating a botched parable based upon the story of Little Red Riding Hood as seen from the wolf’s point of view. I think there was the makings of a good idea here but somehow got lost in one of the Tokyo sewers where much of the story takes place.
Shattered Image (3)
Anne Parillaud (Nikita) is a wealthy heiress on honeymoon who suspects her husband (William Baldwin) is trying to murder her. Or is she a freelance assassin and Baldwin her next target? Both possibilities seem only to exist in the dreams of the other.
This probably looked quite good on paper, but on the screen it looks anything but. Anne Parillaud tries hard to make anything of either character but Raul Ruiz’s direction is awful. Baldwin, as usual, doesn’t need the director’s help to look bad. The story lurches from one reality to the other and contains some laughable plot twists. If it wasn’t for the fact that Anne Parillaud has the sexiest accent in Hollywood history, I would probaly score this even lower.
The Insider (8)
Al Pacino stars as respected CBS news reporter Lowell Bergman who persuades Jeffrey Wigand (Russel Crowe), recently fired R&D vice president of a major US tobacco company, to come clean regarding the addictive qualities of nicotine. No sooner is Jeffrey Wigand considering his course of action than the tobacco company instigates a series of bully-boy legal tactics to warn him off. The family even begins to receive anonymous death threats (though these are never proved to be related). When even these measures look like failing thanks to the efforts by Lowell Bergman to protect his source, the tobacco company starts flexing its corporate muscles, threatening the very existence of one of the world’s largest media companies.
If all this sounds even remotely far-fetched, believe me it isn’t. These events actually took place about 5 years ago, and nearly all the real names (both people and organisations) have been retained. No doubt the tobacco industry must be feeling rather uncofortable about the release of this film!
Russel Crowe provides a superb performance as a man weighed down by the immensity of the decisions he is forced to take and the consequences which ensue. Al Pacino provides his best performance since he faced off against Robert De Niro when he last teamed up with director Michael Mann. For Mann, usually associated with action movies such as Heat and Last Of The Mohicans, this is an unusual film in that there is very little action. Nevertheless he manages to wring every last ounce of tension from this absorbing tale.
Come Oscar night, this one will be a contender.
Criminal Lovers (3)
Natacha Regnier and Jeremie Renier are teenage lovers who conspire to murder a class-mate. The foul deed is commited during one extremely violent scene. Naively the duo believe they can get away scot free if they can bury the body in the woods. But they are observed in the act by an old man who lives in the woods and who perceives an alternative fate for them.
This is a dull and overly violent tale which takes an more sinister and squirm-inducing twist once the kids encounter the man in the woods. Movies containing extreme violence, cannibalism and homsexuality are rarely easy to watch, even more so when the story is dull. The first film I’ve seen at this year’s festival where no-one applauded afterwards.
The Legend Of 1900 (6.5)
Guiseppe Tornatore (Cinema Paradiso) directs this epic tale of newborn baby boy abandoned on board a transatlantic liner at the turn of the century. Discovered in a packiing crate on top of a grand piano, he is reared by the ship’s crew and ultimately becomes a virtuoso pianist (played by Tim Roth). He is befriended by a jazz trumpeter (Bill Nunn), from whose viewpoint the story is narrated to to music store owner Peter Vaughn.
Apparently inspired by a theatre monologue written by Alessandro Baricco, this unusual story would seem thin indeed were it not for Tornatore’s direction and an accompanying score composed by Ennio Morricone. These two elements, plus fine performances from both Nunn and Roth, lend an almost fairytale-like quality to the proceedings. Two scenes in particular stand out among the rest. The first is when Nunn initially finds Roth playing the piano during a heavy storm. The second is when the pianist is challenged to a musical duel by jazz founder Jelly Roll Morton (Clarence Williams III). The latter scene is a cinematic classic and its climax drew a round of applause from the audience.
If you can look beyond the gaping holes in the plot then this is entertaining stuff.
EDtv (5.5)
In an attempt to boost ratings, an ailing US cable TV station comes up with the idea of broadcasting the life of an individual 24 hours a day. But who will be that lucky individual? The person they finally settle upon is Ed (Matthew McConaughey), a video store clerk. As ratings soar, so Ed quickly becomes famous. But fame and lack of any privacy bring complications, not least between Ed and his brother (Woody Harrelson) when Harrelson’s girlfriend (Jenna Elfman) falls for Ed. Especially when the public let it be known that they don’t care for Elfman.
This didn’t fare well when released in the States 12 months ago, and it’s not difficult to see why. It’s not that it’s a bad film - it’s just too similar in concept to the highly successful Truman Show. However this takes a more true-to-life approach which, though a worthy topic for debate, just doesn’t make for such an entertaining comedy. Nevertheless, it would have been a cruel fate to have consigned this straight to video in the UK just because Americans prefer Jim Carrey.
Engaging and lighthearted but hardly memorable.
Two Hands (4)
This low budget Australian movie is the directorial debut of Gregor Jordan. The plot primarily concerns a young man (Heath Ledger) who lands his first job for local gangster Bryan Brown but loses the money he is supposed to deliver. He is forced to find a way to replace the money fast while simultaneously avoiding Brown’s henchmen long enough to do so. Fortunately the spirit of his dead brother (murdered by the same set of gangsters) has tunnelled up from the depths of Hell to help him.
The plot itself is quite inventive and the script at times is sharp and witty. Unfortunately in the wake of Pulp Fiction and Lock, Stock And Two Smoking Barrels, this comes across as a cheap imitation with all the production values of a daytime soap. Unlikely to see the light of day on general release outside Australia.
Topsy Turvy (7)
Lavish period drama about famous British opera composers Gilbert and Sullivan. Primarily the story centres around a nineteenth century theatrical troupe as they prepare to stage the duo’s new opera, The Mikado.
Mike leigh directs this ambitious film which stars Jim Broadbent, Timothy Spall, Alison Steadman, Allan Corduner and many more. The, mainly British, ensemble cast provide some solid performances including quite possibly a career best for Jim Broadbent. The story lurches and meanders somewhat, since it is told in a semi musical, semi bio-pic, almost anecdotal structure through the eyes of the theatrical troupe. Some scenes are farcical, some serious and some merely staged musical numbers from the production.
At almost 160 minutes it is possibly half an hour too long. Nevertheless it is extremely watchable.
Sofia Coppola’s directorial debut tells the tragic story of five 1970s middle American teenage sisters as seen through the eyes of the teenage boys in their quiet suburban neighbourhood. Following the suicide of their youngest daughter, the girls’ parents (James Woods and Kathleen Turner) impose an even stricter and more reclusive regime upon the remaining 4 girls than already existed in their family home. But with 4 beautiful blonde girls aged between 14 and 17 wanting to have some fun, something has to give. It does so when the eldest (Kirsten Dunst) becomes interested in one of the boys at school.
Although a difficult story to get terribly excited about, Sofia Coppola conjures up a certain charm by capturing a little bit of the period and, more importantly, a hint of what it feels like to be a teenager trapped at home. The youthful cast is given firm support by Woods and Turner. Though the book by Jeffrey Eugenides has been pared down to a mere 97 minutes, this is more than enough running time to recognise the directorial promise inherent in the next generation of the Coppola dynasty
Directed by Spike Jonze and written by Charlie Kaufman, this is likely to be the weirdest film of this or any other year.
John Cusack plays unemployed puppeteer Craig Schwartz who takes a job as a filing clerk and inadvertantly discovers that his office contains a secret portal into the head of the esteemed American actor of the title. Soon he and his cynical work colleague Christine Keeler are running the most bizarre timeshare scheme imaginable - $200 for 15 minutes as John Malkovich. But things get complicated when Craig’s dowdy wife (Cameron Diaz) meets Keeler while in the body of Malkovich, and even more so when Malkovich himself becomes aware of what’s happening!
A strange tale indeed which raises questions that you probably never before thought to ask. Though individual elements are slightly derivative of other films, this is a truly original story which twists and turns in directions you least expect, often with hilarious results. Cusack and Diaz perform admirably while Malkovich provides a superb self-ridiculing performance surely worthy of an Oscar nomination. Director Spike Jonze will most certainly be singled out for further attention by the powers that be in Hollywood, whilst one can only marvel at the refreshingly demented mind of writer Charlie Kaufman.
An intelligent and mind-bendingly funny movie.
Sixth Sense (8)
Bruce Willis plays a successful child psychologist haunted by one of his failed cases. When he comes across the case of Haly Joel Osment, a young boy who may or may not be the subject of child abuse, Willis sees his chance to make amends and lay to rest his own ghosts. He could hardly be more wrong, for the child harbours a terrifying secret which makes most childhood nightmares look tame by comparison.
M Night Shyamalan writes and directs the most intelligent hollywood ghost story in years. Willis turns in another fine performance, proving yet again that there is more to his ability than a gun and a vest. However, it is Haly Joel Osment as the understandably distraught child who completely steals the show with a performance which may well garner him an Oscar nomination.
The plot is well thought out, the action nicely paced and tension spun out for all it is worth without ever resorting to gory special effects unless absolutely called for. The intelligence of the plot and the quality of the central performances make the impossible seem truly plausible in this chilling tale which is already well on its way to becoming one of the biggest commercial hits of 1999.
A surprising movie which will haunt you long after you leave the cinema.
Low budget British movie directed by Michael Winterbottom and set in Belfast. Christopher Ecclestone Jude, Elizabeth, Cracker) and Dirvla Kirwan (Goodnight Sweetheart, Ballykissangel) are a young married couple desperate for a baby. But all attempts to date have failed and the strain on their marriage is beginning to tell. So when Kirwan’s old French pen-pal (Yvan Attal) arrives unexpectedly on their doorstep oozing Gallic charm and sensitivity, things look set to change.
What begins well as an entertaining comedy touching upon a variety of modern domestic themes unfortunately ends up descending into cheap drama via at least one false ending. Along the way the film is not without its pleasurable moments (Many will sympathize with Kirwan when she checks her job at the local concert hall), and it’s nice to see a view of Belfast not tainted by violence. This will most likely end up as a TV premiere on BBC2 or Channel 4.
The Girl On The Bridge (7.5)
A modern day romantic fairytale directed by Patrice Leconte (The Hairdresser’s Husband, Ridicule) and shot in glittering black and white. Vanessa Paradis is a young woman who has been cheated and lied to by men all her life. She decides to end it all by jumping from a bridge but is persuaded from doing so by a professional knife-thrower (Daniel Auteuil) who needs a new assistant. He has no act without a target and she might just aswell die by the point of knife as in a watery grave. Whereas life dealt neither of them few lucky breaks before they met each other, together they are a winning team literally living life on a knife edge. Will love blossom between them and can their luck hold out?
Charming, endearing and in parts quite hilarious. It also contains possibly the sexiest knife-throwing scene in the history of cinema. Beautifully directed by Leconte though the camara work is sometimes so fast that it can be a bit dizzying.
Incidentally, in a Q&A session afterwards, Patrice Leconte revealed that he chose to shoot the film in back and white on a whim - possibly because he regarded the characters and the settings colourful enough.
Pushing Tin (4.5)
John Cusack is considered the best air traffic contoller in New York. So when newcomer Billy Bob Thornton appears on the scene, preceeded by a reputation containg words like ‘dangerous’ and ‘maverick’, Cusack takes an instant dislike to him. Not that this minor detail stops him from sleeping with Thornton’s 19 year old wife! But not only does Thornton prove to be cool-headed when dealing with difficult situations in the air, he seems equally in control when handling matrimonial infidelity.
Mike Newell (Four Weddings And A Funeral) directs this movie which lurches between black comedy and drama without ever fully achieving either. Thornton and Cusack, ably supported by Cate Blanchett and Angelina Jolie, provide solid performances but it’s difficult to truly empathize with any of their characters. It’s a nice idea given that there probably haven’t been that many movies about air traffic controllers – but there could just be a very good reason for this! By trying to show that air traffic controllers are also human beings with private lives, the film any real opportunity for high drama and excitement. Employees in all professions have matrimonial difficulties, but not all people direct hundreds of planes through the world’s busiest air space as though they were a cop on traffic duty. Mike Newell obviously hasn’t set out to re-make Die Hard 2 - and perhaps that’s the problem!
John Carpenter directs this slice of hokum obviously released to coincide with Halloween. James Woods leads a band of modern day slayers who seek out and destroy nests of vampires. Following one such encounter in New Mexico, a vengeful vampire master single-handedly wipes out most of the team. In his quest to track down the culprit, Woods discovers that this particular vampire is searching for a mysterious black cross which may just empower him to wander the Earth by day aswell as night.
A nice attempt to update the vampire legend a little, at least in terms of providing the vampire hunters with something a bit more effective than a simple wooden stake. (The preferred method here is to skewer the victim with a crossbow bolt, attach a cable, and drag them into the sunlight by means of a winch mounted on a truck). Unfortunately the plot, the action and the acting all scream second rate TV movie. Not even the inclusion of Sheryl Lee (Twin Peaks), obviously cast to up the sex appeal quotient, can inject sufficient interest to make this really worthwhile.
Recommended for vampire afficionados only.
Run Lola Run (6)
German (English subtitles)
Now here’s something all too rare – a German sub-titled action pic with a sense of humour! Franke Potente stars as Lola, a red-haired punk whose boyfriend has mislaid 100,00DM after a drug deal and has just 20 minutes to recover the money before his employers show up. After receiving his frantic phone call, Lola literally springs into action and races across the streets of Berlin in an attempt to resolve the situation. The situation does indeed resolve itself, but in a variety of different ways according to the actions of characters with whom Lola interacts along the way.
The premise is simple and the plot pretty thin, but what really sets this apart is some clever use of both real-life and animated action sequences and some inventive split screen editing for which director and screenwriter Tom Twyker rightly deserves credit. Potente, too, deserves credit for her athletic central performance which binds it all together.
An arthouse movie which should also appeal to mainstream audiences – and that can’t be bad!
Detroit Rock City (4.5)
Set in 1978, Edward Furlong (Terminator 2) and 3 other US teenagers head off to see their favourite band, KISS, in concert. Due to an earlier mishap, they have no tickets and thus have to acquire some more – which forms the main thrust of the story line. It’s a blend of road movie and teenage wank-fantasy boosted by a thumping rock soundtrack. The outcome is never in any real doubt (all 4 members of KISS are in the movie) but the trip has it’s fair share of enjoyable moments.
Although primarily aimed at the teen market, this is also likely to appeal to those who remember the period and perhaps were even KISS fans themselves. (Any Levis executives – take note!). Aswell as some standard teen antics (toilet scene, puking scene etc), there are some comic observations on the cultural gulf between the fans of heavy rock and those of disco. And then there’s the clothes and the hairstyles! And don’t miss the opening titles sequence which deftly reminds the audience of what the late 70s was all about.
Hardly great cinema but fun nonetheless.
Election (6)
Yet another highschool comedy, this time revolving around the election for president of the student body. Reese Witherspoon is the goody-two-shoes front runner, unopposed until her tutor, Matthew Broderick, persuades clueless college football hero Chris Klein to stand against her. His lesbian sister (Jessica Campbell) becomes an unexpected third candidate.
Alexander Payne directs and co-writes this subtle black comedy intended to poke fun at the American presidential election system. Reese Witherspoon provides yet another solid performance, as does Chris Klein. Matthew Broderick is better than usual, but still not entirely convincing as an adult. Ultimately though, it’s still another movie commenting upon American politics - a subject which usually fails to captivate British audiences.
Intelligent satire, fine performances but lacking any real sparkle.
The Blair Witch Project (5.5)
This much hyped low budget horror flick reaches the UK riding on the crest of a wave of US hysteria. Quite why the Americans have found it quite so scary is beyond me.
Legend has it that, in October 1994, three American kids went into the woods to shoot a documentary about the Blair Witch. They did not return, but their camaras were found almost a year later and the footage edited to produce what we see on screen. Interesting to note that the film never claims to be a true story – only the much publicised (and technically brilliant) internet site duped Americans into believing all this. So the documentary team venture into the woods, find some strange piles of stones on the ground and stick figures in the trees. Then they lose their map and subsequently all hope of returning to civilisation.
By virtue of a plot which justifies the use of hand held camcorders, the shaky and grainy film footage can instantly be excused. And further (perhaps morally dubious) technical innovations were employed to produce genuine fear and unease among the actors to enhance their performances. This all works admirably and the intent to portray psychological horror rather than in-yer-face effects-enhanced theatrics is refreshing. Unfortunately, whilst I could appreciate that I’d be scared stiff if I was lost in the woods in similar circumstances, I just didn’t find the film scary simply because it was shot in shaky 16mm and thus a constant reminder that I was watching a film. Furthermore, there is one gaping hole in the plot concerning the map – we see it on film so why did they not think to hit the rewind button on the camara?
This film is significant not for what it is but for what it has achieved – vast commercial success for a very low budget film. At the very least, this is set to revolutionise internet movie sites since no movie producer can fail to realise the impact which the web site has had upon the success of this film.
Bowfinger (7.5)
Steve Martin plays a small time movie director whose accountant writes a brilliant screenplay. Martin rounds up his crew and shooting is set to start – only he needs a big name star. Cue Eddie Murphy as Hollywood action legend Kit Ramsey. But Ramsey isn’t interested so Martin decides to shoot the film anyway and use Kit Ramsey without his knowledge, aided by a hapless lookalike (also played by Eddie Murphy). So while the film crew, rounded out by fading diva Christine Baranski and fresh-faced Heather Graham, set about their task without their big star’s knowledge, Ramsey himself becomes steadily more paranoid as he is stalked by unseen assailants and receives warnings from strangers of an alien invasion.
Steve Martin not only co-stars but has penned a screenplay which resurrects both his and Eddie Murphy’s acting careers. (Neither have had a critically acclaimed hit for many years). Heather Graham also turns in another superb performance as the actress who’ll sleep with anyone to get to the top. Eddie Murphy’s dual role cleverly allows him the opportunity to parade his acting ability (as the dweeb Kit Ramsey lookalike) while also appealing to fans of his earlier ‘Beverley Hills Cop’ style frenetic comedy (as Kit Ramsey).
This type of film often loses its way by resorting to too much in-jokery, ultimately garnering critical acclaim but not necessarily commercial success. Martin’s screenplay has just the right balance to produce a witty action comedy which will not only appeal to fans of sci-fi B-movies from the likes of Ed Wood but will entertain all but the most cynical of audiences. Some scenes had me collapsed with laughter, especially the stalking scene in the parking lot.
Excellent comedy for a fun night out.
Tarzan (5)
Disney returns to more traditional fare and source material with this adaptation of Borroughs’ original ‘Tarzan Of The Apes’ novel. Tony Goldwyn voices the central hero, while Minnie Driver voices Jane. Nigel Hawthorne, Brian Blessed and Glenn Close lend their vocal talent to other characters. There are no songs in the traditional Disney sense. Instead, a number of background songs performed by Phil Collins which actaully come across rather well.
In the face of recent stiff competion from Pixar and Dreamworks, Disney has beefed up their own animation by adopting a more Japanese Anime style. This, together with Tarzan’s technique of ‘surfing’ through the treetops, gives the action a wonderful 3-dimensional quality which most cartoons lack. It’s refreshing to see Disney shed the more recent trend for merchandise-friendly fare but they may have taken it a little too far. Many will miss the traditional Disney songs; and what there is of a comedy side-kick is so watered down that they might aswell have dispensed with it altogether. That said, all the tots at the Sunday morning performance which I attended were totally absorbed - and that, I suspect, may be the primary requirement for many parents during the half term week!
Possibly one of Atom Egoyan’s more mainstream tales, this has Elaine Cassidy as a young Irish girl running away from her Republican father to search for her boyfriend who may or may not have joined the British army. Her journey takes her to Birmingham where she comes into contact with a kind middle-aged man (Bob Hoskins) who offers to help. But Hoskins is a lonely soul obsessed with his celebrity TV cook mother, and who may just be concealing a darker side to his character.
This is a gently paced film, served well by its two central performances - especially Bob Hoskins who so wonderfully depicts the banality of evil. (Almost certainly a BAFTA nomination here, methinks!). It is all too easy to believe that a child in this predicament could be this naïve and trusting. Egoyan somehow injects an almost surreal quality to the exterior locations, such that Birmingham has never looked better while simultaneously emitting an eerie sense of foreboding.
Enjoyable arthouse movie that deserves a wider audience.
Deep Blue Sea (7.5)
Renny Harlin directs this underwater action yarn in which, following a spot of bad weather and the exertions of a hyperactive research subject, a bunch of scientists find themselves trapped on a sinking marine research facility. But that ain’t the half of it! Attempting to find a cure for Alzheimer’s, they have been genetically enlarging the brains of 3 sharks in order to harvest the cerebral protein. And guess what? The damage to the facility has allowed the sharks to escape.
It’s a pretty stupid setup and the acting and dialogue, even at their best, aren’t much better. Only Samuel L Jackson manages to wring any semblance of depth from his character, and for his pains he is rewarded with possibly the most memorable scene in the movie. Fortunately for all concerned, Renny Harlin may not be great with actors and dialogue but he sure knows how to direct the action. Cue an effects-driven feeding frenzy of monstrous proportions as this particular GM crop bites back with a vengeance. Basically what starts out resembling The Abyss soon develops into Jaws meets The Poiseidon Adventure.
To be fair, there is an element of self parody at work here but somewhere along the way it’s all gone a little bit overboard. Nevertheless there are one or two neat in-jokes nodding noticeably towards that more famous shark movie and its sequels. But let’s face it, you don’t expect too much subtlety from a film about bloody big sharks which eat people!
Just when you thought it was safe … Spills, thrills and mindlessly exciting horror brought to you curtesy of the best sharks with attitude since Jaws had you scrambling for the shore.
American Pie (6.5)
Chris and Paul Weitz direct this Adam Herz scripted teen comedy about 4 highschool guys who vow to lose their virginity before Prom night. And it has to be valid consensual sex - no prostitutes allowed. This straight forward premise works surprisingly well, partly because the central characters aren’t complete teen-movie stereotypes and partly because the script displays some genuine intelligence and wit in between some of the more publicised gross moments.
I profess to know none but one of the cast, though perhaps some will be known to what is obviously aimed largely at a teenage audience. Most acquit themselves well, with Alysson Hannigan (Willow from TV’s Buffy The Vampire Slayer) just edging it thanks to some killer lines of dialogue.
Essentially it’s more a rites of passage movie than a crass gross-out comedy, though it’s hard not to compare it to the likes of Porkys and There’s Something About Mary when the film in question contains such set-piece scenes as a guy screwing an apple pie and, later on, the same guy sexually embarassed in front of a gorgeous foreign exchange student while his friends are watching on the internet. The ending perhaps tries to intellectualise it all a little too much and the spoof scene of The Graduate may be missed by the majority of the target audience, but this is still one of the wittiest teen comedies of the year.
Final Cut (7)
Note: I first saw this movie almost a year ago at last year’s London Film Festival. It is a sad reflection on the state of British film distribution that this is only now being released. Some high profile reviewers (Jonathan Ross, Empire) have been less than complimentary so I decided to re-watch this film just in case I had suffered a brainstorm last year when it came close to being my best movie of the festival. While I have now docked it one mark because it doesn’t stand up so well when the outcome is known, I stand by the following review which I first posted on this site 11 months ago.
Jude Law (Wilde, Gattacca), Sadie Frost (Shopping, Dracula) and Ray Winstone (Nil By Mouth) star in this low budget British drama as fictionalised versions of themselves. Hence Jude is an aspiring actor living in London who has died suddenly and Sadie is his grieving widow who invites their friends (including professional actor Ray) to a wake with a difference - Not only must they watch video footage of a documentary, but they are themselves being filmed for the final scenes so that Sadie can complete the work which her husband had begun. It soon becomes clear that Jude has shot most of his film with the aid of hidden camaras and has, in fact, unearthed a variety of secrets which threaten to tear the group of friends apart. On the face of it, Sadie seems oblivious to the consequences of showing the film but there is method to her apparent madness.
Not only is this funny, tragic, nasty and at times almost embarrassing to watch given its semi-voyeuristic content (Much of the action is secretly filmed in Jude's bathroom and the bedroom) but it is also extremely compelling. The ensemble cast, which includes many British TV actors aside from the main 3, provide a uniformly strong performance. One might single out Ray Winstone for special attention if this wasn't little more than a re-hash of his character from Nil By Mouth.
The film's premise works extremely well, not only in providing a fresh slant to the 'mock documentary' and making it by turns so compelling and awkward to watch that we are forced to question those who derive entertainment from this sort of thing on TV, but also by perfectly validating the low budget look of the film. And as if that wasn't enough, it provides sufficient insight into the art of film-making itself for film students to derive some technical benefit. It almost makes you want to reach for the camcorder as soon as the credits roll.
The final act will come as a surprise to those who have failed to spot the couple of tell-tale signs beforehand but, when thought about logically, is also the least believable element of what is otherwise an imaginative piece of film-making by Dominic Anciano and Ray Burdis who between them are responsible for writing, directing and producing.
A Midsummer Night's Dream (5.5)
Michael Hoffman directs this adaptation of Shakespeare’s work. For a variety of reasons, amateur dramatic Bottom The Weaver (Kevin Kline), lovers Hermia and Lysander (Anna Friel and Dominic West), Hermia’s fiancee Demitrius (Christian Bale) and tearful Helena (Calista Flockhart) all find themselves spending a night in the forrest. During this time, Faerie King Oberon (Rupert Everett) despatches mischevous sprite Puck (Stanley Tucci) on a mission to humiliate Oberon’s wife Titania (Michelle Pfeiffer). But Puck can’t resist having a little fun of his own toboot.
Given the cast, this doesn’t sparkle quite as much as it should. The acting is reasonable but only Kevin Kline really shines. However, Michelle Pfeiffer makes a rather fetching Faerie Queen (No attempt at a a dowdy role here!) while devotees of Channel 4 may be interested to see Calista Flockhart and Anna Friel indulging in a spot of mud wrestling. The story itself is entertaining and amusing when in the forrest, but the last 20 minutes seem something of an anti-climax.
A pleasant enough diversion but nothing dazzling.
Spanish, English subtitles
Cecilia Roth is a woman whose job at a hospital in Madrid is to teach medical students the finer arts of diplomacy in approaching grieving relatives for organ donations finds herself on the receiving end of such treatment when her son is knocked down by a car. Mindful of the fact that she never revealed to her son the truth about his father, she returns to Barcelona to seek out the man she hasn’t seen for 17 years. Soon she finds herself mixed up with a prostitute, a nun (Penelope Cruz) and an actress Marisa Paredes).
This is a true return to form for director and screenwriter Pedro Almodovar, Skillfully blending tragendy, romance, comedy and drama into a compelling tale which never follows a predictable path. The film touches on some serious issues while tugging heavily on the heartstrings. Thankfully it doesn’t implode in on itself, thanks in no small part to its largely female cast - especially Marisa Paredes and Cecilia Roth.
A must for any Almodovar fan.
The Haunting (4)
Jan De Bont (Speed, Twister) directs this big budget adaptation of Shirley Jackson’s The Haunting Of Hill House. Whereas Robert Wise’s 1963 version was an exercise in subtlety with the horrors merely hinted at, De Bont has opted for an in-your-face onslaught of CGI and other special effects. This might have been okay had it worked, but for the most part it doesn’t.
Liam Neeson is a psychologist conducting a study of fear. Lili Taylor, Catherine Zeta Jones and Owen Wilson are the volunteers for his experiment, though they believe it’s a study of insomnia. As Leeson puts - you don’t tell the rats that they are actually in a maze. The group are placed in a big remote mansion and Leeson spins them a yarn about the house’s past in order to kick-start their imaginations, but events begin to get out of control.
To be fair, the sets are quite impressive and the house suitably spooky. The Dolby Digital EX soundtrack provides one or two scary bumps in the night. The special effects are technically impressive but rarely scary, whereas the script and some of the dialogue - now that is scary! What begins with vague promise soon descends into a complete mess where the best moments derive from the unintentional laughs.
John Travolta and Madeline Stowe are military investigators brought in to resolve the horrific rape of a general’s daughter on a military base in Savannah. Astute armchair sleuths will pretty quickly realise that the list of suspects is somewhat limited, though just about everyone’s motives are a little obscure.
Stowe is little more than a token female in the proceedings, but fortunately there are some watchable performances from John Travolta, James Woods and James Cromwell. British director Simon West (Con Air) has obviously studied the works of Tony Scott, as witnessed by the occasional visual flourishes reminiscent of Top Gun and other military backdrops.
Dependable, middle-of-the-road viewing.
Eyes Wide Shut (8.5)
Tom Cruise is a successful and wealthy Manhattan doctor with a loving wife (real-life wife Nicole Kidman) and daughter. This seemingly idillic world receives a jolt during a late night drug-enhanced conversation when Kidman, fearful that her husband may be taking her for granted, reveals a secret from their past. In a jealous rage, Cruise heads off into the night to assimilate this information on his own. His journey across town leads him into an ever more bizarre series of encounters with a variety of people including a patient’s daughter, a jazz musician, a prostitute and the owner of a costume hire store. But none of these can prepare him for the strange ritualistic orgy which he eventually gate-crashes nor the events that follow.
Thanks in no small part to such masterly direction, Tom and Nicole’s acting is generally first rate. Nicole probably scrapes the honours by virtue of two blatantly attention grabbing scenes (Her argument with Tom in the apartment. Staving off a strangers advances while in a semi-drunken state at a party). Tom’s is a more understated performance but hardly less absorbing.
Obviously the film has been eagerly anticipated by fans of Stanley Kubrick, more so since his death barely a week after delivering the final cut. The direction and set design are typical Kubrick (Read into that what you will), though during the central ‘party’ scene the audience could reasonably be forgiven for believing that Kubrick was assisted by Peter Greenaway given the high quotient of lavish costumes and nudity. The story is perhaps more readily accessible than some of Kubrick’s previous work, though the depiction of events on-screen can be interpreted on a number of different levels. On the surface it appears to play as an erotic mystery drama but beneath this lies a psychological examination of jealousy, desire and sexual paranoia. Not as visionary as 2001 nor as savagely inciteful as Dr Strangelove. Nonetheless, absorbing and thought-provoking - and you don’t often hear that said about a Tom Cruise movie!
Most definitely this should be a major contender come Oscar night next March. However, given such liberal subject matter, just how the Academy will react remains to be seen.
Drop Dead Gorgeous (6.5)
Here’s something you don’t see every day - a Hollywood movie which savagely takes the piss out of the American dream in a darkly comic fashion. Kirsten Dunst and Denise Richards are among the hopeful contestants for a local beauty pageant in a small mid-Western town. Dunst is a tap-dancing morgue artist supported by boozy mother Ellen Barkin and dubious best friend Allison Janney. Meanwhile Richards is the rich kid daughter of former winner and current organiser Kirstie Alley. Everyone is desperate to win, but a series of ‘accidents’ suggest that someone is more desperate than most.
The acting is uniformly solid, with Ellen Barkin and Kirstie Alley just about upstaging the youngsters. At times the comedy descends into slapstick but for the most part it is bitingly funny. There are one or two darkly comic set pieces, notably the anorexic reigning champion performing a nurse-assisted wheelchair dance and Denise Richards singing a ‘love song for Jesus’. Not to mention a genuine contender for cinema’s greatest up-chuck scene (though it’s hard to beat The Exorcist on this one!). Yes indeed, this is truly a taste free zone!
Beauty queen black comedy which goes for the jugular - but whose will be next?
Life (6)
Street-wise hustler Eddie Murphy and naïve bank teller Martin Lawrence both, for separate reasons, get on the wrong side of a shady nightclub owner in 1930s New York. To make amends, they are tasked with a bootlegging mission, but things go awry and the two men wind up being convicted for murder. Thus they are sent to a plantation-style prison in Mississippi where they are destined to spend the next 60 years. Inevitably they become firm friends and established figures among the prison community, though all the while dreaming up elaborate escape plans.
Gently directed by Ted Demme, this plays almost like Shawshank-lite. Eddie Murphy displays some true acting talent in a rare dramatic role (though the film also contains a sharp wit) and, on the basis of this, really should seek out more roles of this type. He is ably supported by Lawrence - neither character over-shadowing the other. The story treads similar ground to The Shawshank Redemption but in a more light-hearted manner.
An unexpectedly pleasant diversion for a couple of hours and a revelation for those, like me, who had all but given up on the Eddie Murphy phenomenon.
The 13th Warrior (4)
A band of 12 Vikings, together with one Arab (Antonio Banderas), are tasked with defending a Scandinavian village from a tribe of ape-like cannibals in 922AD. A mixture of Norse legend and The Magnificent Seven, if you will.
Directed by John McTiernan and adapted from a Michael Crichton novel, this film was apparently plagued by production problems – and, believe me, it shows! The battle scenes look great – all well choreographed and filmed in rain and mud etc. Unfortunately, it’s difficult to tell whether the story is wafer thin or has lost a lot in the adaptation from the book. Either way, the end result is pretty sketchy.
American teenage highschool comedy in which Drew Barrimore returns to her youth on an undercover newspaper assignment. Never a popular kid first time around, she tries to put this to rights in order to worm her way into the company of those groups of kids which might lead her to a big story.
This is so formulaic that it is truly sickening. I don’t think the script holds a single surprise whatsoever. Add to that a strong layer of sacharine sentimentality and it all adds up to a romantic comedy for the brainless viewed through rose-tinted glasses. Drew Barrimore’s solid performance and passable support from David Arquette as her brother are the only things going for this movie.
For more entertaining and intellectual highschool shenanigans, seek out Cruel Intentions or Rushmore.
John McTiernan directs Pierce Brosnan and Rene Russo in a remake of Norman Jewison’s original which starred Steve McQueen and Faye Dunaway. Thomas Crown (Brosnan) is the man who has everything and amuses himself with little ‘games’ - like stealing a $100 million Monet from his own art gallery. Catherine Banning (Russo) is the insurance investigator convinced that Crown is the culprit and determined to prove it. Denis Leary provides admirable support as the cynical, flat-footed policeman on the case.
Brosnan slips effortlessly into the role of the self-made millionaire while Russo positively shines as the glamourous insurance investigator. No-one will be offering her any more dowdy roles for a while, I suspect! The sexual chemistry is believable and the acting solid. As for the action. Well the famous chess playing scene has disappeared but is replaced by a ballroom dance which is almost as sensual. Elsewhere it seems to flag at times, but is saved by 2 exciting set-piece heist sequences which bookend the story.
An entertaining crime caper that is pleasing to the eye.
South Park: Bigger, Longer And Uncut (7)
The cartoon adventures of Kyle, Stan, Cartman and Kenny finally hit the big screen. The foursome sneak into an R rated movie starring Canadian comedy duo Terrence And Phillip and exit having added a whole string of swear words to their vocabulary. As South Park’s kids turn the air blue, Kyle’s mum launches a crusade to rid the world of Terence And Philipp which ultimately leads to America declaring war against Canada. As usual, Kenny meets a messy death - only this time he goes to Hell where he finds Saddam Hussein in league with the Devil.
Eschewing the huge special effects budget of most Summer blockbusters, South Park delivers its unique blend of subversive humour throughout the film (though it wanes a little in the last third), and is guaranteed to offend just about everyone at some point, especially any Iraqis. (Qusai - take note!). There is social comment on censorship, parental control, internet porn, racism and all manner of other topics, interspersed with some hilarious musical numbers which could almost have originated from a demented Disney movie.
Funny and offensive in equal measures. Fans of the TV series will love it and those that aren’t may even be converted. And any movie in which Bill Gates is finally held accountable for Windows 98 is okay by me!
Mickey Blue Eyes (4)
Hugh grant plays .. well, Hugh Grant! … as a man who runs a New York auction house. When he eventually proposes to girlfriend Jeanne Tripplehorn he doesn’t elicit the response he expects. The reason for this is that, unbeknown to Grant, his would-be father-in-law (James Caan) is a member of the local mafia-style crime syndicate and Tripplehorn does not want Grant mixed up in the ‘family’ business.
Inevitably however, Grant is unwittingly drawn into the circle as they see the auction house as the ideal front for a little money laundering racket.
Fledgeling director Kelly Makin reaps watchable perfomances from the 3 main leads but fails to exert enough control over the script to keep the comedy sharp. Most of the comedy is farce bordering on slapstick, while the plot holds few surprises. Disappointingly easy-going and mindless entertainment that should have delivered more given the cast. For fans of Hugh Grant only.
Rushmore (7)
Wes Anderson directs this offbeat comedy scripted by Owen Wilson. Jason Schwartzman is a student at the Rushmore Academy who likes nothing better than to run a myriad of extra-curricular activities for the benefit of his fellow students., ranging from directing the school play to being president of the Beekeepers Society. Unfortunately this all has a disastrous effect on his academic studies and hence his grades. Matters are further complicated when he develops a crush on teacher Olivia Williams who, in turn, begins dating his friend and local industrialist Bill Murray. From this develops a curiously adolescent war as the two men battle each other for the woman of their affections.
This is a refreshing highschool comedy with a wit, a heart and at least half a brain. Bill Murray gives probably his best performance since Groundhog Day while Olivia Williams is perfectly amiable as the target of this curious love triangle. But, in his debut role, the real star is undoubtedly Jason Schwartzman. His portrayal of a slightly nerdish but intellectual schoolboy with the ingenuity of Ferris Bueller is superbly funny. (Note - you won’t have heard of him before but he is, in fact, another of Francis Ford Coppola’s nephews and cousin of Sofia). For the most part, the comedy is sharp and the wit acerbic. There are a host of minor characters also worthy of mention, each adding to the quirkiness of this tale whose storyline never chooses to follow the obvious path.
It won’t be to everyone’s liking, but for some it will be up among the movies of the year.
Cookie's Fortune (5.5)
Robert Altman directs a laid-back comedy set in a small town in the Deep South. Cookie (Patricia Neal) is an elderly lady whose only real companion since the death of her husband is the coloured handyman (Charles S Dutton) with a liking for whiskey and jazz. When Cookie takes her own life to be with hubby, her scheming nieces (Glenn Close and Julianne Moore) are determined to make it seem like murder to avoid the ‘disgrace’ that a suicide in the family would entail. Local cop Ned Beatty knows full well that Dutton couldn’t possibly have done anything of the sort, but to the city prosecutor brought in to solve the case all the evidence seems to point to a single conclusion.
Hardly a murder mystery. This features probably the most lax and laid-back murder investigation ever featured in a Hollywood movie. Once again, Altman is really picking at the relationships and character traits that form the fabric of society. The first third is very slow, but things hot up a little when recriminations start flying after the apparent murder, culminating in one or two surprise revelations in the final act.
A nice way to while away a couple of hours but hardly memorable.
Playing By Heart (7)
Written and directed by Willard Carroll, this is an intelligent romantic comedy drama set in Los Angeles. Reminiscent in structure to Robert Altman’s ‘Short Cuts’, the story flits between 11 main characters as they each strive for romantic harmony on their own terms. As little secrets about their lives are gradually revealed, so too are the relationships between them.
The superb ensemble cast includes Sean Connery and Gena Rowlands as an old couple facing an uncertain future while questioning the past, Angelina Jolie and Ryan Philippe as club goers with differing attitudes, Gillian Anderson as a stage director, Jon Stewart as an architect, Madeline Stowe as a married woman enjoying a no-strings affair and Dennis Quaid as a man wading through a string of bizarre bar crawling liaisons.
Overall it’s a cautiously optimistic view of life and love. Perhaps a little contrived, but fun and eminently watchable nonetheless. A welcome respite from all those over-hyped Summer blockbusters.
Wild Wild West (3)
Now this is what Summer blockbusters are really all about. A big star, a hit song, plenty of expensive special effects and to hell with a story or any of that namby pamby acting rubbish! Adapted from a 60s TV series that few of us have ever heard of, this stars Will Smith and Kevin Kline as US Marshals in the old west on the trail of an evil scientist (Kenneth Branagh - who should stick to Shakespeare!) who is plotting to claim the USA as his own by threatening all opposition with his weapons of mass destruction.
Evidently this was intended to be another ‘Men In Black Hats’. However the Jules Verne style contraptions begin to grate after a while, especially as acting is strictly prohibited while they are on-screen. The first 5 minutes was more entertaining than anything that followed! Smith & Kline are the most unlikely pair of gunslingers Hollywood has ever produced and Salma Hayek is given nothing to do but show off her cleavage(s) once or twice. The whole thing makes Austin Powers look positively intelligent!
Not quite a disaster of 'Speed 2' proportions but certainly on a par with 'Batman & Robin'.
Austin Powers: The Spy Who Shagged Me (5)
British super spy Austin Powers (Mike Myers) battles arch nemesis Dr Evil (Mike Myers) yet again. This time Dr Evil has created a time machine and traveled back to the 1960s to steal Austin’s mojo. Our hero must therefore also travel back in order to thwart this diabolical plan.
Forget the plot. This is an excuse to re-hash the lame gags of the original film. Fortunately there are a few new ones, mainly in the form of references to other movies including most of the Bond series. Heather Graham (Lost In Space, Boogie Nights) replaces Elizabeth Hurley as the new ‘Powers girl’ while Dr Evil gets additional help in the shape of Mini-Me, a miniature replica of himself.
The film suffers from too little plot and too much slapstick humour, but the ‘60s style London is a glorious send-up and some of the film references are quite clever (My favourites being Dr No and Planet Of The Apes). No better or worse than the original. Fans will know to expect a lightweight comedy poking fun at the 1960s superspy genre.
Hint: For maximum enjoyment, don’t leave the cinema until the very last of the end credits.
Star Wars: The Phantom Menace (7.5)
Only if you’ve been living in a galaxy far away could you not know anything about this one! Episode 1, the first of the prequel trilogy, delivers on some of the hype but inevitably falls short of meeting all expectations.
Set some 20 years prior to the original, events unfold in a relatively straight forward story of a Jedi knight Qui Jon Ginn (Liam Neeson) and his apprentice Obi Wan Kenobi (Ewan McGregor) sent by the Jedi council to help resolve a dispute between the Trade Federation and the planet of Naboo. Forced to evacuate Queen Amidala (Natalie Portman) for her own safety, they seek to escape the eyes and ears of the Federation by setting down on Tatooine. Here they come into contact with young Anakin Skywalker (Jake Lloyd). And really, save for picking up a couple of droids (R2D2 and C3PO) and the vaguely irritating Jar Jar Binks (voiced by Ahmed Best) along the way, that’s about it. Except, of course, for the obligatory Machiavellan deviousness of Senator Palpatine, an exhilarating 3-way lightsabre duel with Sith warrior Darth Maul, and the jaw dropping special effects of the podrace and the Trade Federation’s invasion of Naboo.
There is certainly plenty to look at on the screen. And the sound isn’t bad either! But where this film fails to live up to the hype is in its characterisation and story because this has so obviously been undertaken as the beginning of a new trilogy. Therefore this does little more than set the scene and introduce the characters for later episodes. Those who fondly remember seeing the original Star Wars films on the big screen during the late 70s and early 80s may be disappointed, but if you know your SW legend well enough then there is a subtle joy to be had in understanding where the Phantom’s characters’ destinies lie. And if you really think the story was that much more complex 20 years ago then I recommend re-watching to see for yourself!
There’s enough here to revive nostalgic feelings for The Force, and the kids will absolutely love it. But don’t expect the same Death Star shattering impact as the original.
Last Night (4.5)
Don McKeelar writes, directs and stars in this Canadian indie film which examines how different people choose to spend their last night on Earth before an unspecified global catastrophe. Don plays a quiet man who would rather spend his time alone in his apartment rather than ‘celebrating Christmas’ with his family. Sandra Oh plays a distraught woman trying to get home after her car has been wrecked by vandals so that she can carry out her suicide pact with her husband, David Cronenburg. Meanwhile Callum Keith Rennie has been spending the past 2 months working his way through a list of sexual fantasies.
This is a quirky arthouse-style take on the armageddon scenario, far removed from anything currently being served up by Hollywood in the run-up to the end of the millenium. The film contains a wry wit but there seems little substance in the story to really draw the audience in. That said, by approaching the subject on such a small and intimate scale, this more than any other recent film will leave you wondering what you would do with your final hours.
Entrapment (4)
Lack-lustre heist movie starring Sean Connery and Catherine Zeta-Jones. Following an art theft from a Manhattan skyscraper, insurance investigator Catherine Zeta-Jones convinces her boss that she not only knows how it was done but who did it. Thus she flies to England in search of renowned international art thief Sean Connery and tells him that she is, in fact, a thief herself . The two then pull off an impressively executed art theft from Bedford Palace before she reveals her plans for a heist which can only be executed at midnight as the new millenium is being chimed in. But is Catherine Zeta-Jones on the level? Is she really a thief or an insurance investigator trying to trap a thief?
Two things let this movie down badly. Unbelievably, the first is Sean Connery. Twenty or thirty years ago he would have been perfect for this role but an OAP art thief just isn’t credible. Any romantic chemistry between the two leads also suffers from the huge age gap. The second problem is the story. While the heist sequences themselves have their exciting moments, too many elements in the build up remain unexplained. ( How does Catherine Zeta Jones have the security codes to the hub of the Far Eastern computer network? How can such an elaborate heist be planned in just 2 days when the previous one took weeks?). The plot has a lot of promise but just isn’t handled well. Even the unexpected twists somehow fail to excite.
Watchable but rarely exciting.
Celebrity (6)
Woody Allen’s latest film has Kenneth Branagh and Judy Davis as a recently divorced couple trying to come to terms with their separate lives. Branagh is a would-be novelist and compulsive womaniser, moving from one relationship to another at the drop of a skirt. Davis is insecure and borderline neurotic but gradually steadies herself by getting involved with TV producer Joe Montegna. Inevitably both keep running into each other amidst the endless whirl of parties and other social engagements inhabited by New York’s celebrities and wanna-be-celebs.
Somehow the fact that the film has been shot in black and white lends atmosphere. The plot structure is fairly episodic and the action is punctuated by numerous cameo performances ranging from Leonardo DiCaprio to Donald Trump. The general themes touched upon by the film are typical Woody Allen. It isn’t difficult to spot that Judy Davis has been cast in the role that a few years ago would have been played by Mia Farrow. Even more obvious is the fact that Kenneth Branagh is playing Woody Allen’s role – right down to some of the mannerisms and most of the dialogue. The fact that this is so obvious ultimately becomes the film’s major weakness since you just know that Woody Allen would have been better in the role himself, even if you understand the reasons why he chose merely to direct.
A mildly enjoyable Woody Allen movie which lacks a performance from the man himself.
Rogue Trader (4)
The film of the book penned by Nick Leeson regarding the circumstances which led to the futures trader bankrupting Barings back in 1995. Ewan McGregor stars as the man from Watford who becomes a rising star in the merchant banking world after resolving a finacial muddle in Jakarta and is assigned to head up Barings’ operation in Singapore. But following initial success, Nick Leeson digs himself into an ever deepening hole as he tricks the London office into funding a false trading position in the Far East. The rest, as they say, is history.
While not exactly dull, I couldn’t help but feel that a 2 hour TV documentary would have explained events a little clearer. Where this comes across well is in explaining Leeson’s motives for the decisions he made. It tries briefly to explain how the futures market operates but doesn’t do a convincing job. Instead it sticks to the sequence of events from Leeson’s perspective. The problem is obvious. Since this is Leeson’s own account, just how much of it can be taken at face value?
Solid acting from Ewan McGregor and Anna Friel (as Leeson’s wife) can’t disguise the fact that this is a very glossy account of what transpired.
The Mummy (6)
Brendan Fraser is a soldier of fortune who stumbles across the lost city of Hamunuptra in 1930s Egypt. other troubles. Teaming up with Rachel Weisz and John Hannah, he returns to relieve the city of its rumoured treasures but, in doing so, they also fall foul of an ancient curse and awake a former resident from 3000 years of a fate worse than death who was mummified alive for shagging the Pharoah’s mistress. Much action ensues, involving ancient books, rival treasure hunters, raging sandstorms and an array of CGI monsters.
It’s all mildly entertaining in a sub Indiana Jones kind of way. The characterisation is even thinner than the script and the romance element doesn’t really work, but fortunately it doesn’t take itself too seriously. Some of the special effects and set pieces are very impressive and it’s these which really carry the day. For the most part it’s a complete no-brainer but for those who enjoyed the Indiana Jones movies and need a Summer blockbuster to keep them going until July 16th, this just might fit the bill.
Cruel Intentions (7)
Roger Kumble wrote and directed this adaptation of Les Liaisons Dangereuse which cleverly transfers the action from 18th century France to present day Manhattan for the benefit of the teen market. Student president Sarah Michelle Gellar and her step-brother Ryan Phillippe weave a web of sexual intrigue centred around a wager concerning Philippe’s ability to relieve the new headmaster’s daughter (Reese Witherspoon) of her virginity before the start of the new term.
Given the more traditional film adaptation of 1988, comparisons between this and Dangerous Liaisons are inevitable. Surprisingly, this fares rather well. Admittedly, the lack of period drama causes the action to lose some of its gravitas but many of the characters’ actions and motives become more readily understandable in this modern interpretation. Of the main three, only Reese Witherspoon falls particularly short in the acting stakes – seeming just a little too eager to lose her (supposedly) closely guarded virginity and thus failing to match Michelle Pfeiffer’s performance of a decade ago. Ryan Phillippe has quite evidently trained for his role by studying John Malkovich’s performance down to the last detail. Almost every mannerism and vocal inflection is faithfully reproduced. Mostly this works but just occasionally it comes across as very stilted in this modern setting. TV’s sexiest vampire slayer has no such problems. Sarah Michelle Gellar is every bit as good as her predecessor Glenn Close, given that the modern surroundings require a more modern attitude to the role. She struts around like a truly precocious teen queen bitch. And the sexual tension between her and Ryan Philippe is far more evident and brazen than it ever was between Glenn Close and John Malkovich. After this, movie producers will be falling over themselves to snap her up for future projects.
Ultimately the film stumbles at the last hurdle. The final 10 minutes just doesn’t come close to conveying the full depth of the tragedy and treachery that befalls the scheming siblings. (Sword fights in Manhattan would probably have looked a little out of place!). For all that however, this is a valiant attempt to produce an entertaining literary adaptation to which teenagers can relate.
Bride Of Chucky (6)
In the world of horror flick serial killers, Chucky never quite achieved the popularity of Jason, Mike and Freddy. This could be put down to his diminutive stature, but was more likely due to a couple of rather lame sequels during the late 80s. Childs Play 3 then achieved notoriety in Britain via the Jamie Bulger case and was eventually pulled from the shelves, resurfacing just 3 months ago along with The Exorcist. Surprising, therefore, that another sequel should be considered (though probably a wise decision to ditch the number).
The spirit of serial killer Charles Lee Ray is still trapped inside the Good Guys doll, albeit completely dead until his former trailer trash girlfriend (Jennifer Tilly) retrieves the doll from the police and performs a spot of voodoo for dummies. So not only is Chucky back but, one pre-marital tiff later, he has a partner in crime. The rest of the plot involves duping a couple of high-school kids to drive them to Charles Lee Ray’s grave in order to retrieve an amulet which can restore their spirits. With the corpses mounting and the police ever more baffled, the 2 kids take the blame for the mayhem while the real perpetrators strut around like a cross between Mickey and Mallory and a couple of demented Thunderbirds puppets.
OK so this isn’t exactly high-brow stuff but it is quite fun. One or two of the murders are deliciously inventive (especially that of a couple of fake honeymooners) and ex Hong Kong director Ronnie Yu (Bride With White Hair, The Phantom Lover) has packed every horror cliché and in-joke he can muster to add spice to this tongue-in-cheek instalment. The result - the Childs Play franchise has been successfully resurrected and number 5 might even be worth looking forward to!
Notting Hill (6.5)
Roger Michell directs this gentle romantic comedy penned by Richard Curtiss (Four Weddings And A Funeral) and set in and around the London locale of the title. Julia Roberts stars as a famous and not unattractive Hollywood actress (So partially true-to-life then!) who walks into Hugh Grant’s book store one day and into his life the next. (Shades of You’ve Got Mail anyone?). Complications ensue in the form of her life-style, his indecision, and her being hounded by the press.
Although the plot is almost pure fairy-tale, the story has a gentle charm which is enhanced all the more if you are familiar with Notting Hill itself. Occasionally the pace is gentle to the point of being slow, but fortunately it is punctuated by some extremely funny scenes, most of which involve Hugh Grant’s flat mate Rhys Ifans. Indeed, as with Four Weddings And A Funeral, while the main story concerns the leading couple, it is the solid supporting cast which lends the film credibility.
Ultimately how you perceive this film will depend upon how much you like Hugh Grant and Julia Roberts. With both of them you know pretty much what to expect. She was better in Pretty Woman, he was better in Four Weddings, but both have been in a lot worse! This won’t garner the acclaim of Four Weddings And A Funeral but it has more going for it than the recent Hollywood offering of You’ve Got Mail.
The Matrix (8.5)
A stylish slice of sci-fi action hokum written and directed by the Wachowski brothers (Bound). Keanu Reeves may or may not be the futuristic new Messiah that Laurence Fishburne has been searching for in order to wake the human race from their mass-hypnotic state powered by the Matrix, a giant supercomputer generating a virtual reality 20th century. Reeves is gradually pulled back from this daydream into a nightmare reality in a fashion akin to that in which Alice in Wonderland entered her own daydream. Once the awful truth has been revealed to him by a small band of freedom fighters, Reeves sets about training for his role in their mission.
Although the plot doesn’t bear close examination, it is more than compensated for by sheer style and some dazzling special effects action sequences employing a Far Eastern technique called flo-mo. Expect to see many more Hollywood blockbusters employing this next year. This is good versus evil with both sides sporting black threads, cool shades and employing a variety of gunplay and martial arts techniques in a manner normally reserved for movies directed by John Woo.
The dialogue is mainly comic strip stuff, some of it being almost laughable. The acting is passable. Keanu Reeves thankfully has few lines to botch; most of the finer points of the plot being left to Laurence Fishburne to explain. Perhaps the film’s big find is Carrie-Ann Moss who acts as sidekick to Reeves and Fishburne, and who seems to have modelled herself on the female baddie from Superman II. Most intriguing is the fact that the Wachowski brothers perceive this as the first of a trilogy (the second part is already a comic strip), though there are no firm plans yet for either a prequel or sequel on film.
Not exactly classic sci-fi, but solid Saturday night entertainment nonetheless. Kick back and let yourself go with the flo-mo!
Perfect Blue (6.5)
Japanese (English sub-titles)
A Manga-esque psychological thriller directed by Satoshi Kon. Mima is lead singer of successful all-girl pop trio Cham who is persuaded to quit the band and pursue a career as an actress. In a deliberate ploy to shed her cutesy pop star image she takes a role in a TV psychological thriller requiring her to act is victim in a gang rape scene. She also poses nude for a magazine photo shoot. However, part of Mima dislikes her new image and longs to be back on the stage with Cham. So when a couple of murders blur the dividing line between fact and fiction, Mima starts to believe that she is being menaced by her former self.
This is a clever and intelligent movie which could just as easily have been filmed with real-life actors. (Indeed it was first conceived as a live-action movie). The visual style is typically Manga, but the themes are not. Within the context of a traditional women-in-peril psychological thriller, it touches upon such issues surrounding the nature of stardom and the perception of such people through the eyes of their fans.
A very worthy attempt to broaden the appeal of this Japanese animated cartoon art form.
The Corruptor (6)
A Hong Kong style action thriller set in New York’s China town district. Mark Wahlberg is the white rookie assigned to the undermanned squad led by Chow Yun Fat which is desperately trying to contain a gang war between new boys on the block (the Fukinese Dragons) and the resident Tong.
Chow Yun Fat and Mark Wahlberg acquit themselves well, helped by a better than average script which allows both cops to be more than just cardboard cut-outs. The plot, too, tries hard to inject some unexpected twists to an otherwise predictable tale of two very different men thrown together in the face of adversity. As for the action, fans of the genre will not be disappointed. James Foley’s direction may not be up to the standard of John Woo but it’s not too far off the mark. There are explosions and gun play aplenty to while away a couple of hours.
Best Laid Plans (5)
British director Mike Barker’s second feature is a semi-noirish thriller. The action begins when Alessandro Nivola calls former college buddy Josh Brolin over to his house where he has handcuffed Reese Witherspoon to the billiards table after she has accused him of rape. It’s obvious from the start that there’s a scam going on here, but who is scamming who only becomes apparent later on with the obligatory flashback to explain earlier events.
The plot contains plenty of twists and turns and it’s easy to believe there are more scams going down than there actually are. Unfortunately the main characters and their motives are poorly sketched so it is difficult to care too much about the outcome. Scriptwriter Theodore Griffin should be commended for the plotting but not his characterisation, but then tighter direction from Barker might also have helped.
Watchable enough, but nothing special.
Forces Of Nature (4)
Sandra Bullock and Ben Affleck star in this comedy which centres around two distressed travellers. He is trying to get to his wedding. She is trying to resolve some financial problems. He’s square and timid. She’s a try-it-all-once type of gal.
What could have been an entertaining remix of Planes, Trains And Automobiles never quite makes the grade. The situations (plane crash, car journey with a weirdo etc) are a little too contrived. Worse still, there is barely a romantic spark between the two leads, which is pretty much a minus point if the audience are supposed to believe they might possibly have a future together. The film is not without its hilarious moments, notably both the scenes involving strippers. Unfortunately there are too few moments to make this film really worthwhile.
eXistenZ (7)
The title of the movie is the name for a revolutionary new computer games system designed by Jennifer Jason Leigh. This is a system which takes virtual reality to new levels and where participants connect to it by means of an interface (bio-port) implanted in the spinal column. During the game's first demonstration, Leigh's partner Chris Ecclestone (Elizabeth, Jude) is assassinated and she herself barely escapes the same fate. It seems that someone doesn't wish this product to see the light of day! Aided by marketing assistant Jude Law, Leigh connects back into her own game in order to determine what damage has already been done and whether or not it can be repaired.
Probably Cronenberg's most mainstream movie since Scanners, this develops some of the ideas put forward in Videodrome. The result is a multi-layered adventure in which it is almost impossible to tell what is reality and what isn't. The usual Cronenberg themes are all present. Machine/flesh interfaces, heightened pain and pleasure through escapism etc. Indeed, hooking into the game can perhaps be seen as a metaphor for the use of mind-bending drugs - especially with its references to infected bioports and lack of recognition of where reality ends and imagination begins.
Like Videodrome, this was scripted solely by David Cronenberg. On screen it can look a bit thin at times, but the ideas are big - even if some of it is derivative. The action sometimes lacks pace but Jennifer Jason Leigh's performance keeps it rolling along most of the time. Jude Law's performance is adequate while some of the support acting is ropey with a dollop of dodgy accents for good measure. (Witness Ian Holm in a performance he will want to forget!).
Cleverly plotted (though it becomes a little obvious towards the end), this is less intense and more fun than Cronenberg's recent movies. Plug in and enjoy the ride!
8mm (5)
Nicolas Cage stars as a private eye hired by a wealthy widow to investigate an apparent ‘snuff’ movie found in her dead husband’s safe. Logical detective work is the order of the day as Cage explores the seedy world of porn movies and the like, searching for clues to the whereabouts of the girl in the movie.
If Nicolas Cage’s performance is more restrained than usual, then Joel Schumacher’s direction is positively pedestrian compared to his usual penchant for pyrotechnic mayhem at every turn. While this all lends credence to the story, it doesn’t provide much excitement. Cage’s performance is solid, and Joaquin Pheonix adds humour as a quirky adult bookstore worker. Beyond that, it’s a by-the-numbers detective thriller with few thrills to warrant a big screen.
An Ideal Husband (6)
Following the recent success of Shakespeare In Love, British cinema is gearing up for an onslaught of end-of-millenium Shakesperian adaptations. In the interim, Oscar Wilde gets a piece of the action with this adaptation of his play set at the end of the (19th) century.
Jeremy Northam is the up-and-coming politician whose current success owes as much to a past deceipt as it does to his perfect marriage to Cate Blanchett. Only sophisticated adventuress Julianne Moore is privy to the secret and she intends to use this information to persuade Northam to defend a construction project in which she has a considerable investment. But Moore has not recconed on Northam’s friendship with idle playboy Rupert Everett whose experience of avoiding marriage makes him something of an expert in dealing with conniving women.
A very dependable cast here provides an ensemble of watchable performances. Rupert Everett is perfect as playboy Lord Arthur Goring, especially in the scenes with Minnie Driver as the woman whom he may choose to marry. Julianne Moore perhaps also deserves praise for her rare ‘period’ role as the scheming Mrs Cheveley. There has been some attempt here to add more emotional drama into the piece but, in doing so, this downplays the some of the more whimsical moments and the delivery of Oscar Wilde’s great witticisms.
Nevertheless, an enjoyable comedy of political scandal and marital deception.
Based upon the 1990 French film, Force Majeure. Three American guys (Vince Vaugn, Joaquin Pheonix, David Conrad) enjoy a carefree holiday in Malaysia. Two years later back in New York, a desperate lawyer (anne Heche) turns up to inform Vaughn and Conrad that their friend is about to be executed on drug dealing charges after he was arrested in the sole possession of their ‘stash’ after the other two had left. If the others come forward and serve 3 years a piece in jail, their frind will be spared from the rope.
It’s a great premise, and one that is bound to inspire much after-dinner debate. What follows is, for the most part, a crisis of conscience debate between Vaughn, Conrad and Heche. While the action is slow and the performances mediocre, there exists an emotion pull which draws the audience in to examine how they might react to this situation. Ultimately the story has few, if any, choices of direction in which to go. It does manage to pull a couple of minor surprises towards the end but is let down again by a cringeworthy courtroom scene comparable on the laughability scale with Richard Gere’s recent cinematic brush with Far Eastern politics.
A lack-lustre film but an interesting after-dinner discussion topic.
A Civil Action (5.5)
Be warned - this is the true definition of courtroom drama. By that, I mean some of it is set in a courtroom and it’s a drama. Not, I hasten to emphasise, a melodrama! And therein lies both this film’s initial strength and its greatest flaw.
John Travolta plays a lawyer who takes on the case of a group of families who have good reason to suspect that the high incidence of luekaemia in the town of Woburn, Massachusetts is due to polution of the local water supply by dumping of industrial solvents. The companies under examination field a vast array of defence lawyers headed by seen-it-all, done-it-all Robert Duvall. Since this is based on a true story, what follows is to some extent a dramatic representation of the events surrounding the case. The little firm with right on its side battles the big guns and in doing so faces financial ruin. Ultimately, justice of sorts does prevail but not in the way that the cinematic audience would wish.
John Travolta and Robert Duvall face off across courtrooms and boardroom tables with great aplomb. It is their performances which breed life into this tale. But truth is not always stranger than fiction, and rarely that exciting. Just when expectations demand a cheesy cliché like a surprise witness or that last-minute evidence - nothing! And ultimately this is what lets the film down. In trying to be commendable by sticking to the facts, director Steven Zaillan has forgotten that the audience require to be entertained.
The Faculty (6)
Alien parasites begin taking the staff of an American high school as their hosts. Very soon an assorted bunch of schoolkids find they are the best hope of stemming the alien invasion before it begins to spread across America.
Directed by Robert Rodriguez (From Dusk Till Dawn, Desperado) and scripted by Kevin Williamson (Scream), this promises more than it ultimately delivers. Nevertheless it is still entertaining stuff if you enjoy 50s sci-fi B-movies and you know your film references. There are a number of references to other well-known movies in this genre (Invasion Of The Body Snatchers, Terminator, The Thing to name but a few) and, no doubt, some lesser-known ones toboot. Not only that but it has the highschool teen genre to draw on aswell.
Strange then, that this should fail in the manner it does. Robert Rodriguez captures the highschool angst and peer pressure atmosphere well. The slow sci-fi-style build-up is also neatly handled. But just when the second half should demand some Buffy-style antics directed by the John Woo wannabe, the film tries to rationalise the plot (Never a good idea with this type of movie!) and opts for a sub standard CGI baddie which I could swear I caught battling Kurt Russel last year. The teenagers are engagingly portrayed by a solid ensemble, but two stand out. John Hartnett (already tipped as ‘the next big thing’) and a welcome return for Clea Duvall - last seen in The Breakfast Club.
This relies heavily on audience knowledge of the genre to sustain its humour and fill in the blanks in a thinly sketched plot but, given that, it plays like the X-Files meets Heathers. Indeed, being a great fan of the latter, I could swear this even uses the same set!
You've Got Mail (5.5)
Director Nora Ephron reunites with Tom Hanks and Meg Ryan for the first time since Sleepless In Seattle to bring us yet another entertaining romantic comedy. This time around, Meg Ryan runs a small childrens book shop in New York and lives with her boyfriend Greg Kinnear (As Good As It Gets). She also has a secret - she is having an affair by email with a complete stranger across the internet. Trouble looms with the arrival of a book super-store. Soon she finds herself at loggerheads with its owner, Tom Hanks. But he too is corresponding with a mystery woman across the internet. Guess who?
Nicely played by the two leads. The support cast is adequate but has little to do. The film’s failing, however, is the story. What begins quite promisingly never quite delivers as well as it might. The romantic thread follows predictable lines but is handled well. However, the business rivalry thread (which could have offered more scope for broadening the plot) is never fully developed and certainly isn’t resolved in a satisfactory manner. Nonetheless, the film has a certain charm which shines through and which you will appreciate all the more if you have ever corresponded at length across the internet.
If mild mannered romantic comedy is your thing then this is worth tearing yourself away from your laptop for a couple of hours.
18th century tale of 2 highwaymen, one a gentleman fallen on hard times, the other a former apothecary with dreams of relocating to America. The pair hatch a plan to infiltrate the ranks of the wealthy in order to determine the juiciest targets before robbing them on the highway. Romantic complications ensue when one of them falls for the daughter of the Lord Chief Justice.
Jake Scott (son of Ridley), directing his debut feature, demonstrates that while he has many good ideas he still has a lot to learn from his father in order to make them gel into a coherent story. The film tries hard to apply a modern day attitude to a period adventure yarn. Robert Carlisle, Johnny Lee Miller and Liv Tyler try desperately to flesh out their thinly sketched characters but it’s hard to get deeply involved in the lives of any of them. The occasional stock ‘Ridleyism’ brightens up the visuals while many of the action scenes are cut together like MTV rock promos enhanced with a thumping soundtrack. While these scenes don’t particularly help the movie as a whole, they are perhaps the individual highlights of an otherwise messy project.
Life Is Beautiful (8.5)
Italian: English subtitles
Very few people would be stupid enough to pitch the idea of a comedy set in a Nazi concentration camp. Even fewer would think to follow through on the idea, and only one man would do so and in the process garner well deserved Oscars for Best Actor and Best Foreign Film.
Roberto Benigni not only co-wrote the script and directed this film, he also stars as a Jewish waiter in 1930s Italy who keeps running into the same charming woman (his real-life wife Nicoletta Braschi). The first half of this story concerns his hilarious attempts to woo her. The second half sees events take a darker turn. The two marry and have a son (Giorgio Cantarini) but their happily married bliss is soon disrupted by the onset of war and their being carted off to a concentration camp. To protect the young boy from the horrible reality of their plight, Benigni explains to him that they have entered a competition to win an army tank.
On paper it sounds completely ludicrous, but on the screen it is vibrant, witty and charming. Roberto Benigni’s first half antics evoke memories of Charlie Chaplin at his best. The comedy is slightly more subdued during the second half and the audience has to be prepared to suspend a fair amount of disbelief, though the film will be best remembered for this section due to the sheer audacity and originality of its story line. To the film’s credit, it does little more than hint at the attrocities while finding humour in the situation without ever trivialising the subject.
A comic gem which possibly only one man could have brought to the screen successfully.
Beginning in pre-World War II Florence, a young Italian boy is taken care of by a bunch of snobbish English ladies (among them Joan Plowright, Judi Dench and Maggie Smith) who are relics of a once great British empire. With them are a few brash Americans, including a wealthy ex Broadway star (Cher). As war looms, the ladies seek assurances regarding their safety from Mussolini himself but eventually they find themselves prisoners of war though, thanks to help from an unexpected quarter, the ladies’ prison quarters closely resemble a five star hotel.
Directed by Franco Zeffirelli, this is not a war film. It is a sketchy portrayal of people slowly realising that times have changed and that they and their ideals are no longer the order of the day. Were it not for the endearing performances of the four leading ladies, this would be a dull tale indeed. As it is, this comes across as a nicely played, if somewhat inconsequential, drama. Pleasing on the eye but rarely taxing on the brain.
Payback (4)
Mel Gibson stars as an armed robber who is double-crossed by his wife and partner and left for dead. Gibson sets out for revenge and to regain his share of the money, but it soon becomes apparent that Gibson’s partner needed the extra share of the loot to pay off some big crime syndicate connections. Undeterred, Gibson just keeps coming, oblivious to the fact that he has to fight his way past Chinese gangsters and mafia-style hoodlums to reach his goal.
Two factors combine to let this film down. The first is that the whole story was told much better in John Boorman’s Point Blank with Lee Marvin in the lead role. The second is that although Point Blank was violent, the violence seemed necessary as an integral part of the plot. Payback is not only more violent, but much of the violence seems a little too gratuitous. Although a worthy effort by Mel Gibson to do something a little darker than his usual stuff, some of his fan-base will undoubtedly be alienated by this. Even my companion for the evening, a Mel Gibson fan with a taste for violent movies, thought the violence in this was too much.
Those who have never seen Point Blank may well find this entertaining. Those familiar with John Boorman’s film may well, like me, find this tedious.
Waking Ned (4)
Comic tale set in a small Irish community. Ian Bannen and David Kelly are are best mates who try to figure out which of the village’s 52 inhabitants has the winning ticket in the Irish lottery so that they may befriend them and hopefully share in the good fortune. However, not only do they discover the identity of the winner, they discover that in a cruel twist of fate said would-be recipient of loadsamoney has departed this world as a result of the shock. And so the 2 men connive to convince the lottery organisers that the winner is still alive and well and ready to receive his cheque.
It’s a slight tale with few, if any, unforeseen twists. To help fill it out, there’s also a sub-plot involving a romance between the local pig farmer and single mum Susan Lynch. Although it’s nicely played, it’s hard to recommend this as a scintillating night out at the movies. Entertaining enough, but this will come over just as well on the small screen.
Most people (ie Just about everyone except me) will be going to see this because they have toddlers who are familiar with the Saturday morning kids cartoon so I shan’t dwell on introducing the characters. Suffice to say that the lit’luns in the Pickles family get to have their first adventure outside of the family home when they try to return Tommy’s new brother (Dylan) to the hospital because he seems to be broke (He won’t stop crying!). Aided by Tommy’s Dad’s latest invention, the Reptar wagon, our heroic ankle-biters wreak havoc on the roads before getting lost in the jungle and pursued by circus chimps and a wolf. Meanwhile the rest of the family conducts a massive search for the kids, hindered by annoying national TV presenters.
Plenty of entertainment for the kids. Those in the cinema on Sunday morning were virtually silent throughout, which must be a good sign! And no shortage of sly references for the parents with nods to Baz Luhrman’s Romeo & Juliet, Raiders Of The Lost Ark, The Fugitive and Bambi. In Disney tradition, the action is punctuated by the occasional song. Most of these are somewhat indifferent but 2 stand out. The first is a set-piece in the maternity ward employing the voices of Lenny Kravitz, Patti Smith and Iggy Pop. The second is a version of Blondie’s One Way Or Another. (Enough for my vote!).
Solid Easter entertainment for desperate parents.
Arlington Road (7.5)
This clever and intelligent thriller casts Jeff Bridges in the role of caring father to a ten year old son, both grieving in their own way over the loss of his wife 3 years previously in a terrorist bombing. Having saved the life of his neighbours' son after a firework accident, Jeff Bridged befriends the boy's father (Tim Robbins) and his wife (Joan Cusack). However, subsequent events lead Bridges to suspect that Robbins may be involved in a terrorist bombing plot.
A gob-smacking opening is followed by a slow and method build-up of suspense as Bridges begins to suspect his neighbours. Is he suffering from paranoia fueled by grief for the loss of his wife or are the neighbours really up to no good? It's a long time into this movie before you can really be sure who the bad guys are, and even then there are further surprises in store - not least because for once the bad guys are every bit as intelligent as the good guys. Tension is maintained right to the end and although many may be disappointed by the final denouement, I for one view this as one of the film's greatest strengths.
An intelligent and edgy thriller which will have you wondering just how well you know your neighbours.
Beloved (7.5)
Directed by Jonathan Demme (Silence Of The Lambs, Philadelphia) and adapted from Toni Morrison’s Pulitzer winning novel. Oprah Winfrey stars as an escapee slave who has created a new life for herself and her daughter (Kimberley Elise) in Ohio in 1873. Quite literally haunted by her past, her life shows signs of improvement after the appearance of an old friend (Danny Glover) with whom she embarks upon an affair. All seems fine until the arrival of a strange girl named Beloved (Thandie Newton).
A strange film to categorise, this is part period drama and part ghost story. At almost 3 hours in length it is possibly half an hour too long. Fortunately Oprah’s central performance stands the test well, ably supported by Kimberley Elise, and the photography is beautiful to look at. At times harrowing, unnerving and only just staying on the right side of sentimental. The plot is contrived to tug the heart strings in all directions and, with the help of a few well paced surprises, often succeeds quite effortlessly.
Director Terence Malick returns after a 20 year absence to present this World War II drama. Comparisons with Saving Private Ryan are inevitable, not least becasue both films are vying for Oscars. But whereas the power of Spielberg’s movie lies primarily in its visual depiction of the total confusion of battle and the ‘War is Hell’ meesage, Malick opts for a (mostly) less graphic portrayal, concentrating far more on the participants’ fear than their confusion.
The action concerns an all star cast of US infantry as they endeavour to take control of Guadalcanal from the Japanese. The strategic significance of this island was its capability to support an airbase from which the skies could be controlled for a radius of a thousand miles. The likes of Sean Penn, Nick Nolte, John Cusack and a host of lesser names provide solid performances. The cinematography is stunning and most definitely rivals that of Saving Private Ryan (No way will this particular Oscar go to anything other than a war movie this year!), and is perhaps the most instrumental component in delivering the film’s message.
Picking up where Spielberg left off, Malick’s film not only subscribes to the ‘War is Hell’ ethic and the fact that it is hardly surprising that soldiers resort to barbaric acts, but takes this a big step further by suggesting that making war is in fact in Man’s nature and that this is possibly nature’s way of punishing Mankind for attrocities against nature. Whether or not you subscribe wholly to this theory may to some extent determine whether or not you believe this to be a good film or a masterpiece.
Urban Legend (6)
Yet another attempt to cash in on the post Scream bandwagon. Fortunately though, this one is better than most. The site of the latest slice of teen horror is an American university campus where it appears that someone may be offing the students in the manner of popular urban myths. The university already has one killing spree in its past and the 25th anniversary is rapidly approaching so it’s no wonder that the students are getting a bit twitchy.
Suspects include the usual assortment of oddball students, the college dean, and a professor (none other than Robert Englund) who teaches a class in Urban Legends. This plays straighter than Wes Craven’s classic (None of that post-modern ironical stuff!) and thus falls into the trap of taking itself a little too seriously. The plot loses its way towards the end so don’t try to rationalise the last 15 minutes. Nonetheless this contains some suitably scary moments including an opening scene to rival Drew Barrymore’s torment in Scream.
This Year's Love (5)
Mildly entertaining Brit-Flick with a passable ensemble cast. Set in and around Camden Town, the film plots the intertwined tales of the lives and loves of a group of early 30 somethings over a period of 3 years. The group include an airport cleaner who sings in a pub band (Kathy Burke), a dysfunctional nerd (Ian Hart), a clothes designer (Catherine McCormack) who has sex with another man just days before her wedding. Douglas Henshall, Dougray Scott and Jennifer Ehle also star.
This is a lightweight comedy drama more suited for TV than the big screen. The performances are solid but not outstanding. The basic message appears to be that you don't always appreciate what you've got until it's gone. It's an amiable piece directed by David Kane but nothing to shout about, but it will pass a couple of hours on a rainy day.
A Bug's Life (6)
This film comes from the creators of Toy Story and is the second animated movie about ants in almost as many months. The basic premise is very similar to Antz in that a colony of ants is under threat from an opposing force and it befalls one ant to find a way to save the day and win the heart of the princess. However, differences are quick to emarge as the threat is posed by marauding grass hoppers and help comes from a circus troupe.
This plays primarily to a younger audience than Antz. Some adult humour is present but it is much less to the fore. The characters are also cuter and more 'goggle-eyed' than their competition. The story flows well and there are some exciting action scenes for younger viewers, though nothing to quite match the visual flare of Toy Story. The Disney camp is certainly trying hard to adapt to recent shifts in animation technology (CGI graphics etc) and the shape of their competition (the emergence of Dreamworks). In this respect A Bug's Life is a shrewd move which will keep them firmly in the game while they try to remould the team. At least there is little blatant merchandising this time around but there are virtually no songs either!
Very Bad Things (6)
A stag weekend goes seriously wrong for 5 friends when the hired stripper inadvertantly becomes impaled on the bathroom wall in the hotel room during an exuberant bout of passion with one of the guys. A hotel security guard happens along at just the wrong moment and, before they know it, the tight group of friends have become 5 panicked individuals who have committed murder to conceal what would never have been believed as a tragic accident. Having successfully disposed of the bodies in the desert, the 5 return home to their respective families and girlfriends. Closely pursued by feelings of guilt and paranoia.
After a slow start this turns into a relatively well-paced thriller. Unfortunately, although it strives to be a very black comedy it comes close to teetering on the brink. At times the comedy of the fothcoming wedding preparations becomes a little too slapstick (mainly due to Cameron Diaz’s role being too reminiscent of My Best Friend’s Wedding) while occasionally bad things happen which are depicted so black as to be borderline sick! (One incident in particular caused severe murmerings in the cinema). Nevertheless there are scenes when all the main protagonists shine, especially when Christian Slater, Daniel Stern, Jon Favreau and the rest are arguing over their best course of action in the hotel room. And Cameron Diaz gets her best scene as, having threatened to completely derail itself, the fim delivers a deliciously black comic finale.
A charming, witty and intelligent romantic comedy mixed with a dash of period drama. The year is 1590 and playwright William Shakespeare (Joseph Fiennes, brother of Ralph) is suffering from writer’s block while under pressure to complete his latest work - Romeo And Ethel The Pirate’s Daughter. Fortunately a suitable remedy is forthcoming in the shape of a lady named Viola (Gwyneth Paltrow), but not before Viola has adopted a little cross-dressing subterfuge to land the lead role in William’s play. When Will discovers her secret, they enter into a passionate affair behind the backs of the cast and Viola’s suitor, Lord Wessex (Colin Firth). As the relationship develops, so too does the plot of Will’s latest work.
Not only does this combine a play within a film but it draws cleverly upon elements from a variety of William Shakespeare’s literary output to produce something which is at once both new and familiar. Hence there is drama, love, tragedy, comedy and a smattering of swordplay interwoven in an intricate yet seemingly inconsequential plot which is pure Twelfth Night and Romeo And Juliet rolled into one. And there are a good many references to other Shakespearean plays toboot.
Screenwriters Marc Norman and Tom Stoppard have produced a script of which the Bard himself would not have been disappointed. The mainly British cast acquit themselves well. As for the leading couple - Joseph Fiennes shows great promise as a man capable of following in his brother’s footsteps while Gwyneth Paltrow outshines her performance in last year’s Sliding Doors. The crowning touch is the audacity of director John Madden (Mrs Brown) to cast Judi Dench in the role of Queen Elizabeth I, quite evidently relishing the opportunity to portray another British monarch. All this plus some sly in-jokery at the expense of the Hollywood studio system and a hilarious Elizabethan river cabbie.
Three Golden Globes to its credit already, Oscar nominations assured and BAFTA nominations a forgone conclusion. As fine a British movie as you are likely to see all year.
Two Girls And A Guy (5.5)
Two women (Heather Graham and Natasha Gregson Wagner) meet outside an apartment block whilst waiting for the respective boyfriends to return home. Only to realise that both are awaiting the arrival of the same man (Robert Downey Jr). Forsaking any usual cat-fighting antics, the women chose instead to confront their mutual partner. And so begins a psychological examination of the nature of relationships, peoples expectations of them and their bahaviour within them.
Issues such as commitment, fidelity, promiscuity and duplicity are all touched upon but are discussed in such a clinical matter that this could easily be a classroom debate. Even with just 86 minutes running time, what begins with great promise barely barely manages a composed conclusion. That said, Hollywood should be applauded for producing such intellectual fare which dares to defy any real movie conventions save for the obligatory sex scene (which had to be severely pared down before the film’s US release).
What keeps this going is a trio of solid performances. Downey gets to demonstrate that his repertoire extends well beyond pure acting, most assuredly attracting a avriety of future scripts in his mailbox. But it is Heather Graham who shines yet again after last year’s performance in Boogie Nights.
Essentially a three-hander set entirely within one location, I can’t help feeling this would benefit far more as a stageplay than it does as a film.
Pi (4.5)
Written and directed by Darren Aranofsky, this is a tale about a maths prodigy (Sean Guillette) whose genius is matched only by his paranoia. Indeed the latter may even be a symptom of the former. His home-made supercomputer crashes while searching for patterns in the US stockmarket fluctuations, but not before issuing a strange 216 digit number. Is it the world’s most obscure error message or a clue to some greater truth? Hassidic Jews think he may have discovered the lost name for God while financial analysts believe he may have a formula for predicting future performance of share prices.
Limited dialogue, rapidly changing visuals and a thumping soundtrack add to the sense of disorientation and the sense of being on the verge of some great insight which the brain may only ever be able to comprehend at its moment of meltdown. The most black and white thing about this movie is the film stock on which this is shot. Nothing else about this film lends itself to easy examination or explanation, and ultimately none is proferred. Perhaps the truth is that nature loves mathematical patterns (from the shape of a snowdrop to the whorls of a human brain) and since human life derives from nature even man-made mathemetical models such as the stockmarket and the subway systems are all part of the same phenomenon. Neither the nature of the universe nor that of the human mind should necessarily be treated as puzzles to be solved, merely continuously changing states to be explored and admired. Or may be not!
Heavy going and probably only for die-hard film buffs and wanna-be mathemeticians.
Bulworth (5)
Warren Beatty directs himself as a US senator who has become tired of life and tired of lying to the American people. So having hired a contract killer to assassinate him on the eve of the Californian primaries, he sets out on the campaign trail to tell the people how it really is. But not only does he discover that he likes telling the truth, he finds that people warm to him much more for doing so. All except for those that work for him and those that provide campaign funds so that he can lobby for their causes. Revitalised by his new-found popularity, all Bulworth has to worry about now is calling off the hit.
Buried deep within here is a serious message trying to get out. However the story chooses to ignore the normal conventions of political satire and instead indulge in a string of all night raves and parties among the seedier neighbourhoods of LA, only to emerge in the daylight to the tune of a white bro' who can educate the electorate in rapping verse. Taken at face value it is in fact very funny at times but it is hardly believable. Perhaps the message is that politics isn't believable and those that would have us think otherwise are the biggest joke of all.
Good to see Beatty back on the screen but this doesn't seem worthy of his talent.
The Siege (7)
FBI agent Denzel Washington is called in to deal with a bomb hoax but this quickly proves to be the first in an escalating series of terrorist actions conducted by Arabs within New York City. Washington is aided in his investigations by CIA agent Annette Bening who is playing a double game of sorts with terrorist go-between Tony Shalhoub. But after one terrorist cell is neutralised, only to be replaced by another which pops up and bombs FBI headquarters, the army are called in to impose martial law under the command of a no-nonsense Bruce Willis.
Don’t be deceived by Willis’ presence or the misleading trailers. This is more a political thriller than a gung-ho action movie. The first half works well as the terrorist campaign slowly escalates whilst Bening and Washington play verbal footsie with each other - grudgingly sharing snippets of information. The plot is derailed slightly in the second half once Willis leads in the troops but it still contains some powerful scenes (Especially people rounded up in a football stadium), attempting to show that once the army are on the streets people have fewer freedoms than if the terrorists were running amok. It is very provocative in it’s no-holds-barred betrayal of Arabs as the bad guys but tries to balance this with the equally provocative notion that, given this kind of urban warfare scenario, the Americans would resort to any means possible to resolve the situation - even if such measures mirror those abhored by the Western world when employed by other military regimes.
The acting is solid from all the major participants, though Annette Bening suffers slightly on the credibility front trying to portray a ‘dowdy’ CIA agent. (I was reminded to some extent of Michelle Pfeiffer in The Russia House). A promising sign that perhaps Hollywood is trying to inject some intellectual thrills into the thriller genre as opposed to just visual ones.
Meet Joe Black (6.5)
Anthony Hopkins and Brad Pitt star in this overblown (almost 3 hours) remake of the 1934 film Death Takes A Holiday. It’s a romantic drama in which Death swaps swaps his skeletal features for the body of a young lawyer, Pitt, (Obviously the supernatural equivalent of donning a Hawaiian shirt) in order to take a stroll among humankind, experiencing the world from the other side. However, it’s not all pleasure. There is business to attend to since ailing billionaire Anthony Hopkins is due to croak just before his 65th birthday, but Death needs a tour guide and allows Hopkins to enjoy a few extra days in exchange for performing this duty.
Plot complications ensue as Death, in his guise as Joe Black, falls for Hopkins’ younger daughter (Claire Forlani looking like she could be the next Julia Roberts). His mysterious arrival on the scene also sparks off a series of corporate shenanigans within Hopkins’ company boardroom.
The film is a leisurely affair which barely warrants it’s bloated running time (It could have been at least 50 minutes shorter) but is saved by solid performances from the lead members of the cast. Hopkins is particularly watchable. That and the endless array of sumptuous sets, culminating with Hopkins’ 65th birthday party.
The overall tone never rises above light and whimsical but it contains a lot to enjoy if you are prepared to wait.
The peaceful technology-free existence of the Ba’ku is shattered when Commander Data seemingly runs berserk, shooting at all and sundry. This in turn alerts the Ba’ku to the fact that their planet is beeing observed by a Federation task force. The Federation calls upon the Enterprise to calm things down and retrieve their android. This they do, but Picard begins to sense that something else is amiss and uncovers a plot to remove the Ba’ku from their world so that others may exploit the planet’s resources.
Although not as exciting as the Next Generation’s previous outing against the Borg, this is an intelligent and well paced story which finally lays to rest the curse of the odd-numbered Star Trek movies. Thanks to the planet’s rejuvenating properties, the cast get to have some fun as the crew revert to some of their instincts from earlier times, enabling the action to be interspersed with some amiable comic embellishments.
Not warp factor 10 but by no means a hull breach either.