MARK S. DEROSA - MOVIE REVIEWS 2002

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CLICK ON THE REVIEW YOU WOULD LIKE TO SEE:

WHAT THE COLORS MEAN:
TOP OF THE LINE
(A+)
MUST SEE
(A)
VERY GOOD
(B)
GOOD
(C)
BORDERLINE OR BAD
(D)
*BOMB*
NICHOLAS NICKELBY
CONFESSIONS OF A DANGEROUS MIND
THE PIANIST
TALK TO HER
TWO WEEKS NOTICE
SPIDER
CATCH ME IF YOU CAN
LORD OF THE RINGS: THE TWO TOWERS
THE HOURS
CHICAGO
THE QUIET AMERICAN
SOLARIS
RABBIT PROOF FENCE
ADAPTATION
ABOUT SCHMIDT
MAID IN MANHATTAN
GANGS OF NEW YORK
AUTO FOCUS
FRIDA
ROGER DODGER
8 MILE
FAR FROM HEAVEN
HARRY POTTER & THE CHAMBER OF SECRETS
EL CRIMEN DEL PADRE AMARO
PUNCH-DRUNK LOVE
THE RULES OF ATTRACTION
COMEDIAN
FEAR DOT COM
THE RING
FORMULA 51
SWEPT AWAY
IGBY GOES DOWN
THE BANGER SISTERS
SECRETARY
MOONLIGHT MILE
TRAPPED
RED DRAGON
HIS SECRET LIFE
THE GOOD GIRL
MY WIFE IS AN ACTRESS
24 HOUR PARTY PEOPLE
MY BIG FAT GREEK WEDDING
SUNSHINE STATE
ONE HOUR PHOTO
POSSESSION
TADPOLE
AUSTIN POWERS IN GOLDMEMBER
THE KID STAYS IN THE PICTURE
MR. DEEDS
FULL FRONTAL
SIGNS
XXX
DAHMER
MINORITY REPORT
PUMPKIN
LOVELY AND AMAZING
MEN IN BLACK II
THE ROAD TO PERDITION
ME WITHOUT YOU
CIRCUIT
DIVINE SECRETS OF THE YAYA SISTERHOOD
13 CONVERSATIONS ABOUT ONE THING
THE DANGEROUS LIVES OF ALTAR BOYS
THE BOURNE IDENTITY
SCOOBY DOO
ZIGZAG
UNFAITHFUL
ATTACK OF THE CLONES
ABOUT A BOY
INSOMNIA
CQ
THE IMPORTANCE OF BEING EARNEST
UNDERCOVER BROTHER
ENIGMA
WORLD TRAVELER
THE SWEETEST THING
THE SALTON SEA
SPIDER-MAN
MURDEROUS MAIDS
RAIN
CHANGING LANES
FRAILTY
THE CAT'S MEOW
HUMAN NATURE
NEW BEST FRIEND
RESIDENT EVIL
MURDER BY NUMBERS
KISSING JESSICA STEIN
ICE AGE
THE PANIC ROOM
DRIFT
DEATH TO SMOOCHY
CRUSH
LUCKY BREAK
QUEEN OF THE DAMNED
WHEN WE WERE SOLDIERS
CHOP SUEY
THE TIME MACHINE
THE BORSTAL BOYS
Y TU MAMA TAMBIEN
SHOWTIME
BROTHERHOOD OF THE WOLF
STORYTELLING
THE SON'S ROOM
BIRTHDAY GIRL
SCOTLAND, PA
HART'S WAR
DRAGONFLY

THE PIANIST

Release: 12/27/02-(R)-(2:28)-[FOCUS FILMS]- ADRIAN BRODY, EMILIA FOX, MICHAL ZEBROWSKI, ED STOPPARD, MAUREEN LIPMAN, FRANK FINLAY, THOMAS KRETSCHMANN: To be honest there was a great deal of hesitation in my decision to see Roman Polanski's return to true notoriety in cinema. The topic of the holocaust is brutal and hard to stomach, not to mention often portrayed. Fortunately for me that decision making process was swayed by good notice and reviews... especially for the lead in actor Adrian Brody. THE PIANIST is indeed a film about the horrors of the holocaust but it shows the topic from an angle that has only been played to this extent in bits and pieces. it is a story about the survival of one man... amongst so many that did not. It is the story of this man’s strength... fears... experience and faith in that very survival. It is a triumph and a career-making role for the absolutely stunning Adrian Brody... an actor who should undoubtedly find himself nominated for an Academy Award in February and could very well stand on the podium come March if enough people get out to see the film. That is, however, the trick. It is not a happy film. At nearly 2 and a half hours it stands as a brutish and brutal portrayal of atrocities against man. It is not revealing in this fact with the exception of the focus in Poland and on Wladyslaw Szpilman, an unassuming and somewhat unaffecting Pianist in a local restaurant. There is the feel of family and the fear of the horrors that were impending all portrayed with an amazing eye for detail and an extraordinary cinematography of the city streets, apartment buildings and burned out shells of homes in war torn Warsaw. Polanski effectively portrays the horrors of random evil and simple survival through luck, skill and absolute faith.. the glimmers of humanity amongst the hordes of power hungry and mindless that single-handedly wiped out nearly the entire Jewish population of that (and many other cities). The Pianist is political only in the sense of its topic and realism.. but tells a beautiful story of filth, loss, fear and small miracles. Brody is soulful and pathetic to the utmost degree with a supporting cast that takes each and every role to the maximum effect. It is not a good time movie... not for those in any sort of emotional instability. But for those who enjoy sincere and magnificent cinema... right up there with Spielberg's masterful Schindler's List... The Pianist is a must see. (A)
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CONFESSIONS OF A DANGEROUS MIND

Release: 12/31/02-(R)-(1:55)-[MIRAMAX FILMS/MAD CHANCE PRODUCTIONS/SECTION EIGHT]- SAM ROCKWELL, DREW BARRYMORE, GEORGE CLOONEY, JULIA ROBERTS: I suppose the big question here would be to ask whether or not the 'colorful' Chuck Barris actually killed 33 people as a secret covert contractor for the CIA in the 60's and 70's. Could this be a reality? Based on the book of the same name penned by Barris himself, CONFESSIONS OF A DANGEROUS MIND marks the directing debut of actor George Clooney. It is, in effect, a success in its dark comedic tone and very clever script (written by Charlie Kaufman). The movie is filmed in rich, dark hues and spans two decades from 1961 as a bright eyed Barris takes a page job into junior management at NBC, gets fired and ends up at ABC selling ideas (pilots) for game shows like the Dating Game and the Newlywed Game. Through all his many failures, however, Barris can be pegged pretty much as a womanizer and a bit of a boozer prone to brawling in bars and getting thrown out on his ear. It is at one of these bars that CIA agent Jim Byrd approaches Barris and the relationship is struck up that eventually leads Barris to the covert government killings detailed throughout the film. At one point Byrd is shown suggesting the bigger picture for The Dating Game be grand prizes to foreign lands that Barris himself could chaperone... while also handling some of the 'cases' given to him by the CIA. These killings, and the ups and downs of his television success all begin to take their toll on Barris as the man would appear to be slowly unraveling... affecting both his professional life (to a degree) and his personal one. Barris meets his future wife Penny (Barrymore) while standing naked at the refrigerator in her apartment after having slept with her roommate. It would seem that not only is the film about the machinations of the dangerous mind... but the relationship that Barris has with this woman as well. CONFESSIONS is a swift romp of silliness and assorted gags and one-liners that works well on many levels. It is a wonderful first attempt achievement for Clooney and a breakthrough for Rockwell, an actor that has shined many times before in smaller, independent films. Like Catch Me if You Can, CONFESSIONS is a bit of a stretch on the imagination in terms of what is portrayed and what REALLY might have happened. Based on the man that Barris has portrayed himself to be (and the GONG SHOW is represented in fair quantity in the film) it could be said that he is a bit off his rocker and these are merely the ramblings of a slightly warped mind... Or we could just as easily look at our world, our government and the sheer story itself and conclude that there is every reason to believe that something of this sort could very well be true. CONFESSIONS is marked with some up-close testimonies, documentary style from the likes of The Gong Show's Jaye P. Morgan and Gene Gene the Dancing Machine, Dick Clark, Dating Game host Jim Lange and, in the end, Barris himself. For those in favor of a good dark comedy with a well-toned and cohesive script and a round of fine performances... I highly suggest CONFESSIONS OF A DANGEROUS MIND. (A)
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NICHOLAS NICKELBY

Release: 12/27/02-(PG)-(2:10)-[MGM/UNITED ARTISTS]- CHARLIE HUNNAM, JAMIE BELL, CHRISTOPHER PLUMMER, NATHAN LANE, JIM BROADBENT, ANNE HATHAWAY, TOM COURTENAY, ALAN CUMMING, EDWARD FOX, BARRY HUMPHRIES, TIMOTHY SPALL: Dickens’s NICHOLAS NICKELBY comes magically alive in this rather delightful screen version of stars. The period piece of yore gets another wonderful working as the tale is condensed in good fashion in order to fit a tidy (slightly over) two hour run time of drama with a very generous mix of pathos, marvelous acting and pleasant humor. Leading the stellar cast is the beautiful Charlie Hunnam, a young actor previously known for his work in the British version of Queer as Folk and this year's ABANDON. As young Nicholas Hunnam embodies the right mix of honesty, sincerity and bravery that the character possesses. The classic story pits the unassuming young man against his treacherous and very wealthy Uncle (an excellent Plummer) after Nickleby Sr. has died from a mix of illness and failure. Young Nicholas is sent off (by favor) to help out in a boys school run by the deliciously evil Mr. Squires (Broadbent in true Dickens form), where he rights wrongs and learns more about his Uncle's dealings... while also coming to the aid of a crippled lad named Smike (Billy Elliot's Bell) who lives in almost slave-like captivity at the boys school. Together they escape the Boy's School and travel to find work and re-unite and build their family. Along the way they come across a traveling theater group with the humorous likes of characters played by Lane, Humphries (as Dame Edna) and Cumming. NICHOLAS NICKLEBY is a warm and gentle reminder about the traditions of good over evil and dignity within family and society. It is a story that pits family against family only as the need rises in a struggle of power and money taking advantage over the good of the simple. In the tradition of many a 19th century tale from an English author there is a proper conclusion to the wrongs that have been committed and the happiest of all possible endings. It is a film that dares a soul to leave the theater without a smile... a cast that couldn't possibly disappoint and a story that lives timelessly even retold over and over again. NICKLEBY is a film I would gladly see again... if for nothing else but to watch the contagious performance of Hunnam... (A)
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CHICAGO

Release: 12/27/02-(PG-13)-(1:53)-[MIRAMAX FILMS]- CATHERINE ZETA JONES, RENNE ZELLWEGGER, RICHARD GERE, QUEEN LATIFAH, JOHN C. REILLY: Many critics have heralded CHICAGO as the return of the movie musical. In some ways I would agree... if another word is added to that description: traditional. CHICAGO is a wonderfully filmed version of the traditional Broadway FOSSE hoofer. The movie musical, however, has not been completely gone... just shifted and modified in other forms, most notably last year's brilliant MOULIN ROUGE. Personally I would tend to believe that CHICAGO is receiving most of its good notices as a breathe of relief from those who couldn't accept the originality and innovativeness of Baz Luhrmann's masterpiece... but then I would have to say that CHICAGO does fly on many of its own merits. For one thing the story is expanded just a little to give us a background of the two main forces behind the jail house drama. The competition between Velma and Roxie is bright and shiny and more than adequately portrayed. The main thing that prevented me from absolutely loving the film version of a masterful Broadway icon was the use of NAME actors where the stage performances of the past may have been more suitable. I understand that the DRAW of the name is something that might tempt or tease Middle America or the non-Broadway buying public into considering the idea of a movie musical. But the truth is that the MUSIC should be the main star and the actors should always highlight and draw attention to its glories and grandeur. Whereas Catherine Zeta Jones MORE than holds her own as a hoofer as well as a songstress and Renee Zellwegger is bold and impressive in a role nothing like anything we've seen her do before... I might have been far more impressed with some of the names that graced the stage in the past making the story of these villainess cabaret singers JUMP and snap the way I remember it having been done on stage. The lowest point of the movie for me was the casting of Richard Gere as the slimy lawyer... although I enjoy Mr. Gere's acting chops I could not really sink my teeth into his singing and dancing. The best example of the differences between working with film actors and those trained for the stage is in the Cell Block Tango, where the murderesses all sing their tales of how they ended up where they are.... with finesse and a solid stage quality unmatched in any other of the musical numbers. But the truth is that CHICAGO really IS a musical that has translated to the screen. What I write about here today is purely from my own allegiance to the mastery of the work done on a stage. What was witnessed yesterday in my seat in Pasadena's Pacific theater was a wonderful representation that flowed smoothly from scene to scene and musical number to musical number. Rob Marshall took this show... which spent a great amount of time in the pre-production phases before it finally had the chance to work into the creative team and cast that it has... all the way to recognition and good reviews. Will it travel the road of the movie musicals of the past by garnishing notice from Oscar? It is entirely possible. But for those who enjoy a good couple of hours of fun and music set in the 1920's of Chicago... this movie will not leave you cold. (A)
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THE HOURS

Release: 12/27/02-(PG-13)-(1:54)-[PARAMOUNT PICTURES/MIRAMAX FILMS]- MERYL STREEP, JULIANNE MOORE, NICOLE KIDMAN, ED HARRIS, CLAIRE DANES, ALISON JANNEY, JOHN C. REILLY, MIRANDA RICHARDSON, JEFF DANIELS, TONI COLLETTE, STEPHEN DILLANE: Although I have a few more films to see before my final lists are tallied for the year 2002 I would have to say that this masterful project taken on by Stephen Daldry (Billy Elliot) is the film to beat for the Academy Award. Having not read the book I only have what I have read otherwise to know that this was an undertaking many would have expected not to translate. Not only does it translate into fine filmmaking, but its three main storylines intertwine seamlessly to create a cohesive and incredibly beautiful tone that works throughout the time periods it covers. From its magnificent opening of flowing activity between the stories... edited as though the scenes were merely being cut for one period, to the effortless means by which the crux of storyline is portrayed... THE HOURS is nothing but first rate movie-going. Begin, of course, with one of the most stellar casts collected for one feature in years, an always incredible Meryl Streep, a perfectly astonishing Julianne Moore, an unrecognizable and brilliant Nicole Kidman and yet another amazing performance by Ed Harris. The story and the music (Phillip Glass) mix together with ease and grace as the film shifts from 1920's Britain to 1950's Los Angeles to 2001 New York. The three main characters are marvelously separate in their style and manner... and yet one and the same in their fight for what seemed to be right in their lives. Kidman's turn as Virginia Wolfe, who we first see walking into the river and her own suicide in 1941, is further solidification of her status among movie royalty. She embodies the character and grabs a hold of the pathos of her increasing insanity while writing the book that plays a central focus of THE HOURS: Mrs. Dalloway. Julianne Moore's depressed and sullen housewife is pivotal to the film not only in the manner by which she herself struggles to figure out what is necessary for her own life, but with the struggle of her young child and the fact that her life parallels the book she is reading (again, Mrs. Dalloway). With Clarrissa (Streep) there is the loss of herself and a breakdown of confusion and her own depression felt while preparing for a party to be given in the honor of her best friend Richard, a poet dying of AIDS who she has obvious feelings for from years gone by combined with the loss of her own identity and the increasing knowledge that she is unable to let go of his. The stories all connect through the book as well as through a variety of other aspects that reveal themselves as the film proceeds. But it is all so utterly smooth and telling... and incredibly real in the way it is displayed. Daldry could very well be nominated for his second directorial Academy Award in as many releases. The film is a shoo-in for a nomination as are at least four of the actors. This is a must see for the season. (A+)
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LORD OF THE RINGS: THE TWO TOWERS

Release: 12/18/02-(PG-13)-(2:59)-[NEW LINE CINEMA/WINGNUT PRODUCTION]- ELIJAH WOOD, IAN MCKELLAN, SEAN ASTIN, VIGGO MORTENSEN, ORLANDO BLOOM, LIV TYLER: Peter Jackson continues his amazing journey of splendor and magnificence through the trilogy with THE TWO TOWERS, the second chapter. Suffice it to say that there will not be a great many more that come out to see this second film than saw the first... fortunately for the filmmakers the first was a HUGE box-office hit and pretty much everyone DID see it. The splendor of cinematography is vivid and rich, another continuation of the beauty of New Zealand to create the storyland that houses the trilogy. Mountain ranges, marshes, castles and plains... the land of these characters is a character in and of itself. Jackson's intense take on these classic pages continues its evidence in THE TWO TOWERS. The storytelling moves at a much swifter and more cohesive pace. THE FELLOWSHIP OF THE RING was an establishing film. It was slower while providing the set up for what was to be the main crux of the story both in this film and the next (THE RETURN OF THE KING.) Again, like my review of the first installment of the trilogy, I am not going to attempt to describe the plot line for a couple of reasons. For one: there is SO much going on. Another reason is that this is a tale that should be left up to the viewers imagination. Many if not most of us have read the books and will have our own visual to contend with. The story is very true to the book and goes into vivid detail with the occurrences that you will encounter in TWO TOWERS. Frodo and Sam are still on the journey to the Mordor to dispose of the ring, encountering Gollum (introduced briefly in the first film) and assorted other armies and men along the way. Gollum, I should add, is an absolutely stunning work of animation and live action created by computer and the work of an actor named Andy Serkis. There is MUCH fighting and many wonderfully staged and produced battle scenes in TWO TOWERS. The mighty forces are fierce and the fellowship is intact. Key roles in the first film continue but some only for a couple of scenes (Tyler, Blanchett, Weaving). The experience is a rewarding one and the true RINGS fans will not be the least bit disappointed. There may not be the huge amount of Academy Award nominations for the second installment but I do expect there will be a few, mostly in the technical areas... and possibly for the film and its director once again. It is an Epic the way epics should be made, storytelling at its finest and glorious from head to toe in look. I, for one, am already looking forward to the next installment in a year’s time. (A)
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CATCH ME IF YOU CAN

Release: 12/25/02-(PG-13)-(2:20)-[DREAMWORKS PICTURES]- LEONARDO DICAPRIO, TOM HANKS, CHRISTOPHER WALKEN, NATHALIE BAYE, MARTIN SHEEN, AMY ADAMS, JENNIFER GARNER: Things just aren't as easy as they used to be. Witness the alarming ease at which young Frank Abagnale Jr. took so many for a ride between the ages of 16 and 19 back in the 1960's. Should this sort of behavior have been explored in THIS day and age our young con man would have been rounded up and more than likely shot to death as he bolted. Granted... the 60's were a much more trusting and innocent era... and perhaps the crimes being committed by Frank... er... whatever last name he was using at the time weren't ones that would be detected because the possibility of doing such things just wasn't examined or expected like they would be today. Let me put it this way, have YOU tried to cash a check lately? CATCH ME IF YOU CAN is a light-hearted (at least by the standards of our often heavier fare director Steven Spielberg) romp through a much simpler and apparently more colorful era of our nation. The subject, a teenager ripped from the pages of FBI lore and the pages of U.S. criminology, is based in truth and real as the day is long. Frank Jr. left his home and divorcing parents back in 1964 and ran away to New York City. It was there that he began attempting to cash personal checks to no avail. Soon, however, he figured out that there was an easier way and conned his teenage ass into PAN AM's headquarters as a high school reporter. There he got all the information he needed and got himself a uniform or two and began flying around the country as a Co-pilot on other airlines. Soon pegged as the Skywayman in print it became time for the young man to find another means by which to "make his way"... but not before his first encounter with the FBI man named Hanratty who would be chasing him until 1969. Carl Hanratty (Hanks) first encounters Frank in a hotel in California where the kid poses as a CIA agent and runs off to his next destination leaving Carl high and dry. That, it would seem, is the theme of the film throughout, a swift, smart and spry teenager and the middle-aged and oft times frustrated agent that chases him. During the course of CATCH ME IF YOU CAN Frank impersonates a pediatrician, a lawyer and an airline pilot. He is popular and charming and, it would seem, smart enough to pass a bar exam and clever enough to watch the top programs of the day to pass muster to those around him. DiCaprio is finely cast as the young man and Hanks is equally appropriate as the obsessed FBI agent who eventually gets his man. CATCH ME IF YOU CAN is a wonderful holiday film. I don't necessarily see it winning any of the end of the year awards... but the film will make a good coin or two in its initial run and eventually rake it in in home rentals and sales. (A)
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SPIDER

Release: 12/20/02-(R)-(1:38)-[SONY PICTURES CLASSICS]- RALPH FIENNES, MIRANDA RICHARDSON, GABRIEL BYRNE, JOHN NEVILLE, LYNN REDGRAVE, BRADLEY HALL: David Cronenberg has offered us some rather strange and/or unusual pieces of cinematic illusion in the past with films like EXISTENZ, CRASH and NAKED LUNCH. In each of these and several other titles the director expands from the normal human mind and highlights the differences of drug-induced, delusional or mentally ill thinking... through the eyes of a protagonist. In SPIDER this concept of creative bordering warped sensibilities is expanded with the topic and a subject deeply mired in schizophrenia... a disease of the mind that creates all manner of hallucination, disorganized thinking and speech and loss of touch with reality. This bleak look at a man out of touch with his life and the past that brought him to the place he currently inhabits is both disturbing and rather brilliantly examined as it twists and turns towards its ending, bringing solution and explanation to the unfolding episodes that precede. Ralph Fiennes (far more at home in this sort of role as compared to the romantic lead in this month's Maid In Manhattan) is "Spider", so named by his lovely mother. He is a middle-aged man who is released from an asylum to live in a half-way house that is both disheveled and creepy in its own right. Spider, or Dennis Cleg is first seen disembarking a train in a crowded London suburb station moving slowly and almost as though he were having a breakdown or suffering some form of disabling physical disease. In fact, Fiennes performance can either be categorized as excellent or intensely annoying as most of it entails only incoherent mutterings, shuffling, blank stares and writing gibberish in a tiny little sacred notebook that he hides underneath the carpet in the back of his room. Cleg arrives at this half-way house run by the nasty Mrs. Wilkinson (Lynn Redgrave) and is ushered up to his room and new existence after having spent most of his childhood into this adulthood in a mental institution for reasons not yet revealed. He is particularly wary of the smell of gas and has a tendency towards pieces of rope or rope-like string which he likes to string across his room like a spider web. The house allows these 'guests' to come and go as they please and once Cleg is out the door he finds himself peering into the window of his childhood home. This is where the schizophrenia starts to manifest to our eyes as he begins to see and hear the past, looking into the lives of his father Bill, mother and himself as a child. What unfolds is what would appear to be a telling of the breakdown this child might have had as a result of the philandering and boozing father in 'crimes' against his saintly and beautiful mother. What concludes is something far different and much more intriguing and explanatory to the mind of the illness both in the man released from the institution and the child that held the disease many years prior. Aside from the affecting and annoyingly real performance by Fiennes there is an astonishing dual role played by the amazing Miranda Richardson, appearing not only as the boys mother, but the mistress Yvonne and the charge Mrs. Wilkinson. This is an Academy Award nomination waiting to happen. Spider is bleak and grey in tone... setting up a very small and sad world of disease, small town poverty and those who live or work around it all. It is, however, a worthy escape from the fluff of romantic comedy or generic action adventures in its reality of another part of the human world that is often dismissed or ignored for its severity. Cronenberg is rich in his willingness to stretch those boundaries. (A)
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TWO WEEKS NOTICE

Release: 12/20/02-(R)-(1:40)-[WARNER BROS./CASTLE ROCK PICTURES/VILLAGE ROADSHOW]- HUGH GRANT, SANDRA BULLOCK, ALICIA WITT, DANA IVEY, ROBERT KLEIN: YES... like most movies of this Ilk, TWO WEEKS NOTICE is indeed fluffy and predictable. But I am going to have to add that I thoroughly love the combination of the two stars that bring this movie to life... making the experience a highly tolerable one. Quite frankly I would be inclined to want to fall for Hugh Grant myself. In the world of big business there would seem to be a jolly English fellow named George Wade... accustomed to getting what he wants when he wants it and hiring beautiful and less than talented legal aid to attend to the business end of it all. Smart? Not according to Georges older brother... you know, the disapproving schlep with the power to tell George what to do and the wife that looks like she ate a bitter pill for breakfast. Over in another part of the big city lives Lucy, the highly educated and extremely intelligent Harvard trained idealist who is out to make sure that the big corporations... like WADE Corporation... are not going to knock down every single landmark she stands for and build their profit making condominiums. Well go figure... I guess opposites attract. One day Lucy finds George on the steps of a courthouse (just finishing an interview with Miss Russia) and instead of finding an argument ends up in a limo with a 250 Grand a year job (plus Christmas bonus). Why can't I get offered these jobs? I digress. Months pass by and Lucy finds herself in the wrong job... considering what this high-priced attorney gig has turned into more of a highly paid personal yes-woman slash gopher for a goofy playboy. TWO WEEKS NOTICE then moves into life-changing personality shifting mode. When George the happy rich guy calls Lucy the repressed idealist out of a wedding on an emergency she decides it is time to give up the job and give in the two weeks notice. At first this is unacceptable to the man who pretty much always gets what he wants... but soon, after sloppy attempts on the part of Lucy to get herself 'fired' the agreement is made and the notice is accepted. During the next two weeks there are interviews conducted, deals being made and swanky dress-up parties that are attended. When young June Carter makes her way into the office and seemingly catches not ONLY the replacement job that Lucy is vacating... but the eye of George as well, it becomes obvious to pretty much all of New York that our idealist is in love. Everyone except Lucy of course. Circumstance and profit margins enter the picture and the saving the beloved community center at Coney Island... part of the deal maker that helped George land Lucy in the first place, falls through. Lucy is peeved and storms off. George is a changed man and saves the day. Romance, sappy ending, sunset and Chinese dinner ordered for two. Ahhh... Hollywood loves a happy ending. FORTUNATELY for TWO WEEKS NOTICE the film itself is highly tolerable and its cast is very likable. Do I hear date movie? (B)
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TALK TO HER

Release: 12/13/02-(R)-(1:52)-[SONY PICTURES CLASSICS]- JAVIER CAMARA, DARIO GRANDINETTI, LEONOR WATLING, ROSARIO FLORES, MARIOLA FUENTES, GERALDINE CHAPLIN: Pedro Almodovar is a brilliant director. He is assured in his style and capable of bringing out the differences of the sexes with finesse and an original style that makes an audience FEEL for his characters and wonder what part of themselves they might see in them. TALK TO HER (Hable con Ella) is a continuation of his masterworks... robbed by the Spanish selection committees of an almost assured Academy Award for foreign film. It is a sweet, solemn, and beautifully acted story of love and loss... or love never attained. It is about common ground and differences that separate us from others. It is about two men, first seen sitting next to each other at a modern dance theater performance, neither knowing the other but finding a parallel in life in the months and years ahead. Benigno is a trained nurse who has been watching over the 'love of his life' for four years in the hospital. He is a quiet and unassuming man, by all that can be seen he is a man that thinks nothing of himself by giving all that he is and has to the care of Alicia, a young woman in a coma. From appearance it would seem that his devotion to Alicia would indicate a relationship had existed. The truth is that it had not, Benigno lived across the way from a dance studio that he had spotted the beautiful young dancer in. He was, in affect, a glorified stalker of the girl, going as far as visiting her father's psychiatric offices where she lived, in order to be closer to her. The other man, Marco, is a different personality. Marco is dryer and more shut-in with his personality. He develops a relationship with the famous Bullfighter Lydia and when she is gored and goes into a coma, he too finds himself at the hospital trying to figure out what it is he should be doing. There is a marked difference in the styles by which these two men handle the women that they love, both in a coma. Benigno talks to Alicia constantly, telling her stories, relaying activities and describing the shows and movies that he has seen to her. He believes beyond the shadow of a doubt that this sort of interaction will be the reason she can come out of this coma. Marco, on the other hand, is not only more or less incapable of that sort of communication, but seems also to be on the outs from the relationship as Lydia's previous lover is back in the picture... a fact that she had not yet revealed when her accident occurred. Marco, however, is not without emotion. It is this character that is prone to breaking into tears at songs, the dance theater and memories of his own loss in a relationship far previous to the one he was having with Lydia. Benigno and Marco build a bond through the women they are 'involved' with and become friends as a result. What Almodovar does with this friendship and the assorted twists and turns of life itself for these characters is nothing less than genius. It is playful and rich... somewhat unexpected and in some aspects, very sad. It is one of the years foremost thought-provoking theater experiences, one that I highly suggest and hope to see again myself. (A)
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GANGS OF NEW YORK

Release: 12/20/02-(R)-(2:45)-[MIRAMAX FILMS/ALBERTO GRIMALDI PRODUCTIONS]- LEONARDO DICAPRIO, DANIEL DAY LEWIS, CAMERON DIAZ, LIAM NEESON, JIM BROADBENT, BRENDON GLEESON, JOHN C. REILLY, HENRY THOMAS, GARY LEWIS: There are powerful points that make GANGS OF NEW YORK a contender for the end of the year awards festivities. It IS most definitely the sort of EPIC film that Academy voters are rather fond of. It IS a powerful and solid lead performance by an already awarded actor in Daniel Day Lewis. There are some rather extensive and almost fully effective sets and scenery for what would amount to a grand scale shoot. BUT... and it is a big but... this film is not something that I really could give myself to. There was something missing, something that I honestly can't say that I really care about all that much. What I have to figure out here is whether or not I am un-intrigued with the main character, Amsterdam (DiCaprio), who apparently DID survive from the Titanic, or was simply reincarnated several years later as a brooding and snarling Irishman on another continent. The story is rather loosely narrated by Amsterdam, a man who witnesses his father, the Priest Vallon (Neeson) murdered by the big bad Butcher (Day Lewis) in the streets of the 5-Corners in 1846. Revenge is Amsterdam's middle name. He has been housed in a prison-detention center for 16 years and he is bitter as he returns to this bleak and foreboding land that would one day become the home of Latin maids who get swept off their feet by politicians. In fact, 5-corners is SO bleak that I am not sure why it EVER would have grown into the city it is today. This place is filled to the brim with poverty, squalor, crime, death, prostitution, debauchery and ugly, ugly scenery. I mean this place is not what 19th Century travel agents would have been going on about. It seems that the world of New York is ruled and run by various gangs with funny names... all of them unshaven and dirty... all of them scowling and rabid to stab and club each other at any opportunity. At the head of this all is that aforementioned Butcher... a man with a course and ugly manner and a glass eye (yes, there is a story behind that as well... but I'll let you see that.) Young Amsterdam Vallon assimilates himself in the Butcher's graces and gang and becomes one of them until he is ratted out by the kid from E.T., a former friend and co-patriot named Johnny (Don't worry... they make up later for a brief moment). Then there is the lovely relationship between pick-pocket Jenny Everdeane and the macho Amsterdam, girls always seem to go for these rugged silent types. They kiss, they fight, they dance, they beat each other up.. I guess relationships have always been the same. The war is staged throughout as bloodshed remains one of the foremost stars of this Scorcese vision. Everywhere you turn there are dead bodies and pools of blood. This is not a Christmas day sort of film... and there is actually a part of me that wonders why the story was necessary to tell at all. BUT... the fact remains that it IS a Scorcese production and although I question aspects of the editing and sets in the larger shots... it IS a vision that is worth the viewing. It IS a film that will be recognized and rewarded to some degree. Daniel Day Lewis is the biggest reason to see this film and I know there are still a great many DiCaprio fans that will want to get a load of the elusive actor... but with two films coming out this month and the other being a bit more accessible and charming to his talents and LOOKS.. would the TITANIC female population be inclined to revisit New York again and again? I doubt it. Scorcese fans... this will be a must, otherwise a maybe. (B)
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MAID IN MANHATTAN

Release: 12/13/02-(PG-13)-(1:43)-[REVOLUTION STUDIOS/COLUMBIA PICTURES/RED OM FILMS]- JENNIFER LOPEZ, RALPH FIENNES, NATASHA RICHARDSON, STANLEY TUCCI, AMY SEDARIS, BOB HOSKINS: So who is this Jennifer Lopez person anyway? Where might I have seen her before? Ahhh... I jest about the ubiquitous JLO... she is, in fact overexposed. MAID IN MANHATTAN was not on my list of films that must be seen by a long shot... but the tape fell into my hands AND I am going to have to admit that the viewing was nowhere NEAR as painful as I might have assumed it was to be. In fact I found the film to be rather enjoyable... in a predictable and preposterous sort of way. It is a funny thing about these big budget, big studio, "big star" romantic comedy productions... they seem to all sort of blend into each other and play out like every little girl's fantasy about that knight in shining armor scenario. Cinderella lives over and over again. In the case of Marisa (aka Maria) Ventura we have the Latin Cinderella. She's a maid in an upscale... excuse me EXTREMELY upscale, New York City hotel. As in typical fashion she is the most beautiful around a group of somewhat more homely, older or overweight versions of the hotels 'help'. Marisa, of course, is wildly popular and supported throughout the staff. In fact it would only be her own mother who doesn't quite believe in this promising young go-getter. She has a wise-cracking best friend who watches out for her and gets her into situations a la Ethel Mertz. Yes... that's it, she's an updated Ethel. Marisa has all the problems of a typical lower-income single mother with the louse ex-husband who can't even show up for the big speech that her super-charged over-achieving 10-year-old politico son is giving at his school. Those pesky ex-husbands are such villains, aren't they? One day while Lucita and Ethelita are cleaning up the room of 'the princess' (an obnoxious and high-maintenance British snob woman) Ethelita manages to get our heroine to wear the 5000 dress that she is supposed to return for its owner. BAM... in walks Prince Charming in the form of politician Christopher Marshall. Of course it is love at first site and the OH SO predictable and utterly silly game of mistaken identity and oh so humble routine of the down-to-Earth Ms. Ventura. At one point JLO actually utters the line "How do you deal with all these photographers?" and, unfortunately our humble maid sort of reminds us of her real-life Diva role. Must I go on about the PLOT of this movie? Is it necessary to repeat what we have all seen before so many times? She does the whole transformation routine and gets to stick up her nose at a few who belittled her. She is a glamour Queen. Everyone loves her. The truth is revealed. Everyone is hurt and cries. Jobs are lost and pride is hurt. BAM... everyone is happy in the end. Love Prevails... ain't life grand? WELL... at least it is grand for our maid in Manhattan. In her defense (JLO is so not going to go the route of our original Pretty Woman, Ms. Roberts) I would have to say that she almost convinces that she can be somewhat tolerable and NOT the full-of-herself persona that comes across in interviews... I guess that means she CAN act. As for Mr. Fiennes... he is so much more comfortable as a villain or a psycho or someone ill-at-ease in his own skin. This leading man gig didn't really suit him. Maid in Manhattan is best for those diehard JLO fanatics. For the rest of us.... it is a rental that is indeed worth that price. (B)
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ABOUT SCHMIDT

Release: 12/13/02-(R)-(2:04)-[NEW LINE CINEMA]- JACK NICHOLSON, KATHY BATES, HOPE DAVIS, DERMOT MULRONEY, HELEN SQUIBB: Yes, it is possible that Jack Nicholson could take home an unprecedented Fourth Academy Award, he really IS that good as the gruff and self-discovering Warren R. Schmidt, our title character in the warm, humorous and inviting film ABOUT SCHMIDT, by Alexander Payne (Election). Nicholson portrays a man on the fringes of life, wondering either where it all has gone or perhaps just how much there really is left of it. The film opens with Schmidt dressed and ready to go in his packed-up office waiting for the second hand to tick on up to 5 o'clock. Retirement and his next phase looming, Schmidt looks around him with a dazed and almost befuddled expression of either disdain or simple apathy about it all. His wife of 42-years, June and he are planning to take a trip in the large Winnebago they have purchased together, leaving the suburbs of Omaha, Nebraska behind... but even that doesn't seem to gel with the confused 66-year-old. In one of the more potent plot devices used in ABOUT SCHMIDT, the title character sits staring at the television one night watching ad after ad for hungry children in Africa. When the voice of Angela Lansbury and the pictures of destitute children finally get to him, Warren calls and becomes a 'foster father' to Ndugo, a child in Tanzania. Each month he is supposed to send a $22.00 check, but what works here is the letters that he writes to the 6-year-old boy... works of pathos and anger, as though he were speaking to a therapist and not a child who cannot read, write or speak English. When Schmidts' wife suddenly dies things are thrown into a spin for the man. Suddenly the plans, whether he would have liked them or not, are off and his own life is a calculated amount of time ticking away. His daughter Jeannie (Davis), who wouldn't seem to have had a very close relationship with the man in the past, is soon to be married. It is because of WHO she is marrying that Warren decides to take a road-trip to Colorado in the Winnebago to try and stop her from the wedding. ABOUT SCHMIDT is both humorous and telling in its voyage of self-discovery as Warren hits the road and does his own brand of touring and discovering. He begins to deal (somewhat ineffectively) with his own loneliness and even stops to visit his childhood home, which is now a tire store. Once in Colorado for the wedding he is confronted with the odd and somewhat dysfunctional family of his future son-in-law Randall, a well-intentioned, somewhat slimy hick and salesman of waterbeds. In a memorable role here is Kathy Bates, an aging hippy come middle class who is as brazen as she is unattractive to Schmidt, although her intentions are usually quite clear. There are lessons in ABOUT SCHMIDT about aging, life, family and the ever-true reminder of how things can change in a moment as time marches on. It is a pleasant script and an inviting one that may not have been what it has turned out to be without the magnanimous star-turn of Mr. Nicholson. This man can pull out a performance in facial expressions alone. A seasonal must see, performances and the script are sure-fire Oscar contenders. (A)
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ADAPTATION

Release: 12/06/02-(R)-(1:54)-[COLUMBIA PICTURES/INTERMEDIA FILMS]- NICOLAS CAGE, MERYL STREEP, CHRIS COOPER, TILDA SWINTON, MAGGIE GYLLENHAAL, BRIAN COX: Films on the big screen often suffer from either taking themselves too seriously or swaying towards the masses by being exactly what is expected or has been seen before so MANY other times in the past. I am happy to say that ADAPTATION is not one of those films. It neither takes itself anywhere in the neighborhood of serious NOR finds itself even remotely near the plotline of any other film the cinema has ever seen. ADAPTATION is an original and that alone is something that is going to make me enjoy the time spent in the theater. Keep in mind that the off-centered tone of this film may not be everyone's cup of tea. As is always the case with a film that is pure genius in its tone there are going to be the detractors who find it's style and structure too confusing or perhaps 'offbeat' to constitute a good movie-going experience. To them I say: go see any one of the many cookie-cutter "new faces-same story" features that litter our theaters all year round. ADAPTATION is about making fun of the modern screenplay... and, while we're at it, it is about making fun of the screenwriter himself... so much so that Charlie Kaufman is a part of the story which is based on the book THE ORCHID THIEF. It would seem that Mr. Kaufman, the genius behind films such as BEING JOHN MALKOVICH has been asked to adapt the story of The Orchid Thief into a film. Here he finds a book that is about the beauty of the flower and the oddness of the man who has taken them out of the Florida reservation where they live. Wanting to keep the story true to its form and structure is the irony of ADAPTATION because Kaufman is thoroughly against the industry rules that dictate how a screenplay should be and ARE written (as is exemplified by the scenes with Screenwriting Teacher/Guru Robert McKee (Brian Cox). Soon Kaufman (Cage), who has a habit of beating himself up, is finding that there are necessary means by which this story must be told. Kaufman's twin brother, Donald (also Cage), an opposite to his low-esteemed brother, has decided, meanwhile, that it is time for him to write a screenplay as well. And Charlie, who has hit a wall with the Orchid Thief, begins to incorporate himself, the books author Susan Orlean (Streep) and the Orchid Thief himself John LaRoche (Chris Cooper in a career-changing role). What happens to ADAPTATION as a result of the confusion and additions to the core of the story in the book is the very same type of action and ridiculousness that would be littered in any number of films that are out there today... the difference being the tongue-in-cheek manner and complete and utter disregard for the conventions of the modern feature film. Soon the book about a beautiful Orchid is a caper filled with drug-use, infidelity, murder and even the tell-tale happy ending that so many a marketing researched audience seem to crave. ADAPTATION is an original and that should say it all. It is a film that will find its way into the year-end awards with ease and will undoubtedly be taking home a few... at the very least for Kaufman. (A+)
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RABBIT PROOF FENCE

Release: 11/29/02-(PG-13)-(1:34)-[MIRAMAX]- KENNETH BRANNAUGH, EVERLYN SAMPI, TIANNA SANSBURY, LAURA MONAGHAM, DAVID GULPILIL: There is always something chilling about a true story, especially a story about atrocities and prejudices towards a race. RABBIT PROOF FENCE, the acclaimed film by director and writer Phillip Noyce (THE QUIET AMERICAN) is the story of three little girls of the aboriginal society known as half-castes. These were children who were born of an aboriginal parent and a white parent. In the early 1930's these outcast members of society found themselves being pulled from their families by government sorts in Sydney and thrown into a school that would eventually train them to work as 'slaves' or servants to wealthy white Australian families. The story, based on truth, revolves around two sisters and a friend who are pulled from their home and carted off to this school to suffer this very fate. The story is familiar to a point... in that it is about the struggles and travails of a key character or characters to get HOME from wherever it is that they have been taken. Although I have seen this before there is a spicy twist in Rabbit Proof Fence in its coming from truth and the fact that the girls that portray the three on the 'run' are excellent in their roles. Kenneth Branaugh as well is quite good in a decidedly evil role portraying the man in charge of these decisions, a government official who has these children pulled from their homes and brought to the camp. Only there for a short while, however, Molly, the oldest of the three girls is determined to find a means to get them all home and back to their mothers. One morning as the children are all going to breakfast Molly is told to empty the bucket and notices a storm brewing in the distance. Knowing that this storm would effectively cover tracks made by anyone trying to escape she pulls the two girls she came with and they head into the woods not entirely sure how they are going to succeed in this trip back to their homeland. Through the sheer smarts of Molly and some fortunate breaks along the way the girls are able to avoid being caught by the camps steely 'tracker', a man whose own child is in the camp being trained for a similar fate. Pivotal to the success of the run is the realization that the rabbit proof fence... built on thousands of miles across the Australian outback and designed to keep the rabbits out of one side is their key to the return that they desire. Knowing full well that the fence is in their home village Molly, Daisy and Gracie find the right fence and begin to travel it. Gracie is caught along the way as she separates from the other two after having met a man who claimed to know that her mother was in another city that could be reached by train. But Molly and Daisy, the sisters make it back to their home and flee with their mother and grandmother to remain safe and out of the clutches of the government officials they have made fools of. Rabbit Proof Fence is a good story and a well-directed romp through the outback. (B)
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SOLARIS

Release: 11/27/02-(PG-13)-(1:36)-[LIGHTSTORM / TWENTIETH CENTURY FOX]- GEORGE CLOONEY, NATASCHA McCELHONE, VIOLA DAVIS, JEREMY DAVIES, ULRICH TUKUR: I wanted very much to like this movie. I am a huge Steven Soderbergh fan and especially fond of his eclectic style of directing his many very different films. In Solaris, a remake of Russian Director Andrei Tarkovsky's nearly 3-hour epic in 1972, Soderbergh manages to take the theme and create numerous thought-provoking questions and situations that examine the psychological state of the human mind while taking us up in a futuristic spaceship a la A Space Odyssey. So, I wonder... Is this 2002 a Space Odyssey? To some degree, yes. The problem that I found with SOLARIS was possibly more within ME than it was within the filmmaking itself. I got bored. My mistake was probably as simple as having debated whether or not I even wanted to see a film in the first place that day. I expect that the MOOD that I was in may have had a direct effect on what I, personally, was able to take away from a heavy-cerebral and interpretive piece of work like this. SOLARIS is wonderfully filmed. There are a great many camera angles and shots that are ripe for comparison to features that have preceded SOLARIS. The style of direction is masterful, as stated earlier AND the lead role further proves that our favorite TV doctor is actually succeeding in the bid to become a bonafide movie star. What was troublesome for me was the spotty themes of inner struggle, guilt, conscience and the theories of our repeating things over and over that we weren't able to effectively deal with previously. WHY, I kept wondering, would this woman, Kelvin's (Clooney) deceased wife be returning to him in a dangerous alien form aboard this spaceship? Was it that SOLARIS was a place that people went and became plagued by the things they shelved in their innermost caverns? Kelvin, who had met Rhea on a train and eventually married, was tortured by his having walked out on her after an argument only to come home and discover her dead from a suicidal overdose. The dreaded "what-if's" looming darkly over his character, the doctor is called for his expertise (even though he is a civilian) to zoom on up to this space station on SOLARIS and help out a crew with a mysterious problem that is never really referred to. Off Kelvin goes only to discover death, suicide, forms of insanity and deep fear among those who are on the ship. Before long the doctor is visited in his sterile room by the woman that had left him in suicide on the planet Earth several years prior. He sends her away only to be revisited again in short order. Who is she? What is she? What is the purpose of her being there? What is resolved by the means in which this matter is taken care of? Is he gone himself when this movie is over? Where is it that he has gone? What is going on and for heaven's sake WHY is it happening? After having checked my watch more than a couple of times to see if I would be able to get to the supermarket in time before it closed I concluded that SOLARIS would be better enjoyed or understood with a FULL attention span. That isn't to say I would like it any more than I did in the first viewing... I am not anxious to return for another round... but it does say that this is DEFINITELY a film that is completely personal and interpretive to the individual. No matter what review you read... I would suggest that you use your own intuition to decide whether or not this is the sort of film for you. It is a Soderbergh.. that is a plus. (C)
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THE QUIET AMERICAN

Release: 11/22/02-(R)-(1:40)-[MIRAGE ENTERPRISES/SAGA FILMS/IMF PRODUCTIONS, MIRAMAX FILMS]- MICHAEL CAINE, BRENDAN FRASER, DO THI HAI YEN, RADE SHERBEDGIA: It is impossible to see a movie such as THE QUIET AMERICAN and not come out feeling slightly different than you did when you walked in. It is an effective look at the intricacies of war and conflict. It is a story about friendships and deception through necessity. In a career filled with wonderful performances comes one of the finest acting jobs from Michael Caine. He is wonderfully fragile and outwardly strong, a man filled with his own need to stay OUT of opinion and stand in an environment ripe with nothing but. As an aging reporter for the London times in 1952 Vietnam, Caine portrays Thomas Fowler. Brendan Fraser is an idealistic and affected American in Vietnam to help natives with glasses for degenerate eye diseases. Both of these men are in love with Phuong (Do Thi Hai Yen), a beautiful young Vietnamese woman that Fowler has taken as a mistress. THE QUIET AMERICAN pits these two men in a sane and almost stoic rivalry for the young woman but all the while the men are maintaining a friendship that could only be explained by the need to be around 'other English speaking' people. But things are not always what they seem, as the Grahame Greene book would suggest. There are many underlying motives to behavior and circumstance that will not make themselves obvious as these relationships unfold. The time and place, in and of themselves would tend to illicit the need to say what is necessary to get what is needed. All the escalations of the up-coming conflict that the United States would become embroiled in during later years is highlighted with the rebellions of the communist factions and the French troops that inhabit main cities. There is a distinct style by which the viewer is able to see the growth of the conflict while staying very much in touch with the man at the center of this story (Caine as Fowler) and the relationships he has with both Fraser's character and the beautiful young woman whom they seem to be sharing. Phillip Noyce takes a beautifully effective story and casts it with the right people to make it work from beginning to end. Caine will undoubtedly be nominated for another Academy Award and could very well be taking a few of the other prizes along the way. Miramax was smart to get this film released early enough to garner the necessary buzz. A must see. (A)
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EL CRIMEN DEL PADRE AMARO

Release: 11/15/02-(R)-(1:58)-[SAMUEL GOLDWYN FILMS]- GAEL GARCIA BERNAL, ANA CLAUDIA TALANCON, SANCHO GRACIA, DAMIAN ALCAZAR, ANJELICA ARAGON: An extraordinary coupling of controversy and the up-and-coming cross-over talents of actor Gael Garcia Bernal create a very insightful and dangerous story of the catholic church in Mexico. Father Amaro (Bernal) is a young impressionable priest that the Bishop has sent to a small Mexican town to eventually take over for the priest that is currently there. This priest, it would seem, is on the take from various underworld figures in order to help fund a large clinic just out of town (along with the Mayor of the town.) But the impressionable young priest is soon smitten, beyond his own control, by the daughter of a local restaurant owner (who, it would seem, is already sinning with the older priest that Father Amaro has been sent to eventually replace.) This is a story of conflict, secrets and lies. You can tell that there is a good soul and a genuine intent within young father Amaro, but the story is human enough to show the attraction and subsequent pain that is felt by both Father Amaro and the young woman that he is mixing himself with. Both are very much in charge of their decisions and both are unable to stop what they feel. The irony that really paints the picture in this film is the reasons that Father Amaro has been sent to this town in the first place and the swift change that occurs within the young priest taking him into an almost identical situation to the one that he is set to replace. Then, of course, matters become worse when the young girl finds herself pregnant with the child of the young priest and they panic not knowing how this should be dealt with. The decision if finally made that they will take the girl to one of the local clinics that deals with the matter, a taboo and controversial subject and act in and out of the world of this film. What this creates is further conflict and agonies for those involved and a climax that is most definitely not the sort that paints the rosy picture the Catholic Church in any culture would like the world to see. This film is above the average for its script, portrayals and the sheer honesty by which this story is told. It is brave and will undoubtedly find an audience by those who seek out controversy as well as those who enjoy the work of wonderful creators in the world of cinema. Watch for this to be a focal point at the Academy Awards in the Foreign Picture category. (A)
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HARRY POTTER AND THE CHAMBER OF SECRETS

Release: 11/15/02-(PG-13)-(2:40)-[FOCUS FEATURES/VULCAN PRODUCTIONS/KILLER FILMS]- : DANIEL RADCLIFFE, RUPERT GRINT, EMMA WATSON, RICHARD HARRIS, MAGGIE SMITH, KENNETH BRANAUGH, ROBBIE COLTRANE, ALAN RICKMAN, SHIRLEY HENDERSON, MIRIAM MARGOYLES: There is no mistake about it... this is one franchise for Warner Brothers that will always deliver. It is a strong fantasy-based series with likeable characters and easily followed storylines. It is larger than life and deals with children doing the things that most children would really love to be doing themselves. It is wonderful matinee escapism. When Harry Potter and the Sorcerer's Stone was released at this time last year it unleashed the best selling introduction and introduced those who DIDN'T read the books (all 12 of them) to a world far different than our own. This time around there is a familiarity and thus the film has the opportunity to become slightly darker and less introductory. With that in mind and the return of nearly every single member of the cast and crew, there is a sense that we have visited this before and as a result the huge expectations are lowered ever-so-slightly. That by no means lessens the quality of the work that is put into this superior children's (and fantasy lover of all ages) storytelling. It is bold and visual, and chock full (as one would expect) with excellent special effects, gadgets and little odd creatures that inhabit that place in our imaginations. The problem with the The Chamber of Secrets (for me) seemed to be MY threshold for the stretches of imagination that are the selling point of the highly imaginative work. For some reason there were many more pieces of the whole that were far more preposterous than the first time around. A few moments throughout I found myself looking at my friend and laughing in a manner that may not have been the filmmaker's goal. The film, which starts out with young Harry (Radcliffe) again in the home of the nasty muggle family that raised him (good lord is there NOWHERE else to put this child in the off season?) being treated like dirt and wondering why his friends had not written for the entire school break. Soon, however he is visited by a small creature warning him NOT to return to the fabled Hogwarts School. That of course, does not stop him from making his sophomore year, soon Ron Weasley and brothers are rescuing the young Wizard in a flying car and whisking him off to another year and another adventure of higher wizardry and magic at the castle beyond track 9 3/4. There are all manner of visual enjoyments and colorful characters and rivalries to be had in Harry Potter and the Chamber of Secrets. Quidich is still played, and all the professors are there to make the learning process the one that we have come to expect. Perhaps, however, it is a good idea that the next take on the schooling of Harry Potter and the now famous Hogwart's school will be filmed by a new director and taken in another direction. Harry Potter is going to do incredible business, there is no doubt in my mind... it is, however, starting to feel like something I've already seen. Take the kids and the kid's at heart. (B)
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FAR FROM HEAVEN

Release: 11/08/02-(PG-13)-(1:47)-[FOCUS FEATURES/VULCAN PRODUCTIONS/KILLER FILMS]- JULIANNE MOORE, DENNIS QUAID, DENNIS HAYSBERT, PATRICIA CLARKSON, CELIA WESTON, VIOLA DAVIS: There are times when one of the most pleasant afternoon's can be built around turning on the TV and finding an old film from the 1950's filled with melodrama and angst and wrought with anguish in the most simplistic of manners. It is a symbol of the times and the way that people lived. It is an era gone by not only in the sense that the world has opened up tenfold in technology and communication but the films themselves have moved into realms of the unbelievable and extremes of intense complexity. FAR FROM HEAVEN is a delightful and at times almost comic throw back to that era of time and the style of filmmaking. It is delicious in its colors and beauty and saccharine in language and tone. It is as though the film were from the 1950's save for the taboo topics that it ensconces... subjects that may not have been able to make it to the screen in that time. What is most important to note about the film is that it isn't a 2002 upgrade to a 1950's film. Instead what director Todd Haynes has done is to create a 1950's film in 2002. It is as though the rules were kept the same, with only the subject matter bumped up a peg to enliven the story. Julianne Moore stars as Cathy Whittaker, a suburban Connecticut housewife to a successful sales executive (Dennis Quaid) who lives in the lap of suburban luxury with her two kids and the help, Sybil. Life would seem to be going along swimmingly. There are the social events, the beautiful dresses, the friends and the gossip that color the time period... but there is also the unspoken truths that touch Cathy and her happy home. For one, there is the evening that she brings dinner to her husband in his office only to find him in a passionate embrace with another man. Then there is the relationship that Cathy strikes up with her gardener, a handsome colored man who has taken over the job from his father at the Whittaker home. It is with Roger Deakin (Haysbert) that Cathy finds a shoulder and solace when things begin to unravel with her marriage. This, in the 1950's is unacceptable in all circles of the social register and suddenly there are judgments from all across the board, not only on her... but on him as well. FAR FROM HEAVEN is as simple as those films from the 1950's... but is a welcome addition in the otherwise crowded world of reality and special effects. This is the type of getaway the movies were originally created for. It is simple melodrama, with easy edit cuts that tell a story taking us from scene to scene with no explanations needed. We know who is who and what their purpose is within the frame of the story. What is most delightful about the film, however, above and beyond the originality of director Todd Haynes idea to revisit a bygone era in all facets, is the absolute stunning cinematography of the fall season in this Connecticut setting. The trees are turning and the colors are bright in shades of brown, gold, yellow, and red. Expect to see FAR FROM HEAVEN represented in a couple of different ways at this year's Academy Awards. If nothing but for the costumes and camera work, we might also see the Ms. Moore's tireless put-upon and yet open-hearted Cathy up for an acting award. This is truly an escape from the real world like no other. (A+)
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8 MILE

Release: 11/08/02-(R)-(1:51)-[UNIVERSAL PICTURES/IMAGINE ENTERTAINMENT]- EMINEM, KIM BASINGER, BRITTANY MURPHY, MEKHI PHIFER, EVAN JONES: 8 MILE could easily be titled: "A Star is Born" for the seemingly effortless portrayal given by Rap superstar Eminem aka Marshall Mathers. When first I heard that this controversial artist (and controversy is an artist's best friend, just ask Madonna) was going to make a film, I thought to myself... oh GEEZ... that one will be easily missed. Then I read that Curtis Hanson was going to direct. Mr. Hanson, you will recall, is the acclaimed and genius director of LA CONFIDENTIAL, a film that I had the pleasure to have worked on in 1996. This is a man with foresight and the ability to take a film and turn it into something bigger than it may have ever had the chance to be in another director's hands. When the buzz began to hit I wondered if there were something to it all and thus the skip it rule was tossed and 8 Mile became a must see. Suffice it to say that although the story is one that is all-too familiar, the script is somewhat simplistic in spots and the raw street sensibilities can be a little bit much in some parts of the film... overall 8 Mile is a movie VERY much worth the seeing. This would bring me back to the review's opening. Marshall Mathers, already being compared in many camps as the new ELVIS, is a star of a magnitude that will stun even the harshest of his many critics. The film is kicking a bit of BUTT in its first weekend and the reason is the absolute screen charisma of its lead. The story is about Jimmy Smith Jr. also known as Bunny Rabbit, a rapper wannabe in Detroit's 8 Mile section (a street that divides the racial lines) that has a gift for poetry and rhyme and a knack for trouble. He is troubled and white making the mix in a all-black genre of music a very dicey and dangerous prospect. Jimmy lives in a trailer park with his alcoholic mother (Basinger) and little sister after he leaves his girlfriend. The story of 8 Mile is one of support and achievement. Jimmy Smith is a man that shows perseverance and struggle while brashly living the life that one would expect in that sort of situation. He is a pillar of strength in surroundings that often tend to be anything but... but this does not come without a price. His is the anger of the have-nots and the reverse prejudices that encounter his attempts to break through at a what can only be described as a 'rap-off' where poets and rappers get on a stage and derail their opponents with 45-seconds of rhymes to win a championship. Eminem is brooding but not without heart. His scenes with his little sister and the moments that he is humbled and apologizes to the many different factions he has blown up at in one way or another capitalizes Hanson's direction and the star's ability to completely personalize this character. Highlights include strong performances by Mekhi Phifer as Future, the emcee of the Rap nights and a close and supportive friend of his talented and creative friend and Brittany Murphy's love interest to Bunny Rabbit, a smart, sexy and coy performance by the pretty young actress. 8 mile may not be the Academy Award winning film that LA Confidential ended up being, but it is a strong vehicle for the power of a young star and the talents of a fine director. It is, quite frankly, a must see for more than the rap artist's fans. (A)
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ROGER DODGER

Release: 10/25/02-(R)-(1:45)-[ARTISAN ENTERTAINMENT]- CAMPBELL SCOTT, JESSE EISENBERG, ISABELLA ROSSELLINI, ELIZABETH BERKLEY, JENNIFER BEALS : There are some stellar reasons to go see the sharp and wry independent feature ROGER DODGER. For one there is a wonderful script that cuts like a knife throughout... often leaving the audience in a dizzying state simply out of its purposeful complexities or sly undertones that stab at the very heart of the characterizations or underlying message? Either way ROGER is a film unlike the others currently being presented to the general public. It is intelligent, it offers more than the cliché and cookie-cutter plot that we've seen a hundred times with a hundred more examples bound to be released before the New Year rolls around. But that dizziness I spoke of earlier could also be from that all-too familiar hand-held camera style of filmmaking (you know... Lars Von Trier? NYPD Blue) that at times can have you looking up to the projectionist as if to question if he isn't shaking the film himself.. But that is an adjustment worth the time and effort when the final product is evaluated. Here we have the case study of two extreme opposite types of personality each learning a little bit about the world from the other and both benefiting in the end by the relationship. Roger (Campbell Scott) is an overly-obnoxious ego that knows it all and flaunts it verbally and sexually. He is a talented copy writer (naturally) who works in an office filled with people who love to play as well as work together (there is nothing more stimulating than the village know-it-all spouting off obscure fact after fact to make his inane point over a couple of cocktails in the local hangout after a hard day of 'convincing people that they are ugly and undesirable'. The trouble with Roger is that he doesn't react to rejection. His quest for the nightly coupling is matched only by his ability to brush off the negative responses with the ease of water falling off a scotch guarded raincoat. Enter young Nick who is visiting NYC on his own for an interview at Columbia. Nick, a 16-year-old virgin embodies all that represents the opposite of his uncle Roger... but it is within Roger that Nick feels he will learn what it takes to 'become a man' and learn more about the ladies. Begrudgingly and despite himself Roger begins a crude and almost masochistic evening of lessons meant to throw his young nephew into a world that berates women and proves once and for all what a cad Roger is in the first place. But nobody is innocent in ROGER DODGER (save perhaps Nick) and all characters on whatever side of the obnoxious Roger can be seen with their own flaws and idiosyncrasies. All in all this is an interesting study in how the innocence of a boys burgeoning sexuality and curiosity can spell the very unraveling of a seasoned veteran at the games of the bedroom who is thrusting himself into the recognition that the art of his craft is past its prime and that change might be in his forecast after all. Campbell Scott is excellent in the lead as is young Jesse Eisenberg as Nick. Each embodies their character and forces the audience to truly dislike and root for them (respectively). A cerebral piece of work, this may not fit into every filmgoers tastes... but ROGER DODGER is worth the money of admittance and entertaining through and through. (B)
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FRIDA

Release: 10/25/02-(R)-(2:07)-[MIRAMAX/VENTANAROSA PRODUCTIONS/LIONS GATE FILMS]- SALMA HAYEK, ALFRED MOLINA, GEOFFREY RUSH, ASHLEY JUDD, ANTONIO BANDERAS: The life of Frida Kahlo, it would seem, was no picnic. It was, however, a festival in color, drink, bouts of insanity and a whole lot of Mexican flavor and persistence. Bringing this dynamic and robust personality to the big screen was a mission for Salma Hayek. In a battle of the biopics Ms. Hayek was at one time only one of the Frida projects in the pre-production stages (others were said to have included Madonna and Jennifer Lopez' takes on the artist.) As hard as it truly is to encapsulate the entire life and personality of any famous (or infamous) person into a film, FRIDA does take on the finer and more important levels of the woman's struggle, independence, love, and absolute artistic genius. Hayek embodies the character and makes it a star turn that will likely propel her to the world of the nominee. Better even still, however, is the winning and career making turn of Alfred Molina as the womanizing painter and love in Frida's life, Diego Rivera. FRIDA covers the rambunctious nature of the slight and wild young Mexican artist from her youth through to her death in the 1950's. Her severely debilitating injuries brought on by a trolley accident in her youth and the constant problems with the injuries throughout the rest of her life are a main picture of how the artist overcame and thus moved herself into the world of art as she did. Her absolute sexual abandon and androgynous look and feel are also highlighted coloring her penchant for bisexuality and the stubborn streak that she was well known for in all other facets of her life and lifestyle. Running over two hours FRIDA seems to involve its audience and remain compelling throughout, taking on all themes and capturing earlier 20th century Mexico in color and style thoroughly. As biopic pictures go there is a charm to FRIDA. It is wonderfully handled by its stars and richly directed by the Award winning theater director Julie Taymor (The Lion King). Pictorial and collage art scenes litter pieces of the film lending an artistic flair and furthering along a story to get specific points across. It is a sincere message of all the artist's portraying the characters lives on screen. FRIDA is an Academy film that should be mentioned at the end of the year, more than likely for its two main leads. The season has begun... and the real movies are starting to appear on screens near you. (A)
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AUTO FOCUS

Release: 10/18/02-(R)-(1:44)-[SONY PICTURES CLASSICS/PROPAGANDA FILMS/GOOD MACHINE]- GREG KINNEAR, WILLEM DAFOE, RITA WILSON, MARIA BELLO, RON LEIBMAN, MICHAEL RODGERS: In the department of 'who EVER would have thought a movie about a 1960's sitcom star would be a contender for kudos as an independent film release... comes the new Paul Schrader film AUTO FOCUS, about the accesses and idiosyncrasies of Hogan's Heroes star and former Los Angeles Disc Jockey Bob Crane. Take that one step further and realize that former E! Network Talk Soup host Greg Kinnear has stepped over that line that differentiates between a fluke performance (As Good As it Gets) and some real honest-to-God talent in the lead role. AUTO FOCUS is dark and dreary mixed with the frivolity and pastel nature of the out-dated 60's and 70's, a world apart from our own current sensibilities combined with the ever-present world of addictions. In this case the addiction is sex. as this film opens in 1964, Crane, a self-professed family and one-woman man is, it would seem, on the fast track to making a big name for himself. He is popular and handsome, a drummer with a wicked sense of humor and a well-received KNX radio show that holds a good deal of the LA morning audience. He is, in effect, a local celebrity who wants to be a national one. When his agent gives him the script for a sitcom 'with the funny Nazis', Crane is hesitant, as is his first wife Ann. But as history provides, the script is a good one and CBS is happy with the pilot and off Crane goes into television history. It isn't until the second season of the show that he meets all around techie John Carpenter, who at the time worked for SONY and deals with the latest in Hi-Fi and hand held video cameras. The two forge a tenuous friendship with Crane learning about the pull of celebrity with the women and Carpenter getting everything he needs because he is with Crane. As time goes on Crane is more and more addicted to the photography and extra-marital affairs. His first wife divorces him and he marries his second, Patty. When the series is complete Crane's career and world start to disintegrate as he moves into dinner theater and hits the road with Carpenter, cameras and his over zealous ego and sexual appetite. AUTO FOCUS takes us through the deeper rooted evils of the addiction at hand, the change in Crane's character and the oddness of the relationship with Carpenter. It highlights the disease of Crane's mind and the disintegration of his two marriages and takes the viewer all the way through to his unsolved 1979 murder in Scottsdale, Arizona. Expect some mentions come award time as Schrader, Kinnear and possibly Dafoe could pop up on a few lists. AUTO FOCUS may not be for everyone because of its overtly dark, and sex-obsessed nature... but the film is a quality piece of work and independent film and true story lovers will really enjoy. (A)
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SWEPT AWAY

Release: 10/11/02-(R)-(1:40)-[SCREEN GEMS/SKA FILMS]- MADONNA, ADRIANNO GIANNINI, BRUCE GREENWOOD, JEANNE TRIPPLEHORN, MICHAEL BEATTIE, ELIZABETH BANKS: I very badly wanted to defend this one for Madonna. I told myself that although she gets her worst press from her attempts at acting, she IS working with a director that I admire and have enjoyed immensely a couple of times in the past. I also feel that anyone that is as talented in self-creation and makeover as our Madge could really excel if the right material is discovered. Sorry... SWEPT AWAY was NOT the right material. Madonna is feeble at best in the role of the spoiled rich matron on a pleasure cruise with husband, friends and Italian crew. She is obnoxious and seems to have trouble delivering the lines almost all the way through. The story itself is droll and lifeless, unbelievable and somewhat dated. The saving grace, I suppose, would be the island scenery that Ritchie gives us after Madonna's Amber and Giuseppe (Giannini) are stranded. The theme of role reversal is somewhat familiar and isn't so hard to believe. The rich and 'powerful' Amber is so over the top that there are points where the audience will want to slap her along with Giuseppe. This plays so much like a cheap 1960's Italian B movie that parts of it make you want to walk out of the theater. Unfortunately I was at home so it seemed only fair to wait until its completion... the handsome lead dashing feverishly after the helicopter as it flies off with tears rolling down Madge's cheeks. WHOOPS... did I ruin it for you? Trust me... I didn't. This is a film that I might not even suggest for the video... unless of course you have a weekly CAMP movie festival. Ladies and Gentlemen... Madonna will be the winner of a RAZZIE this year. Mariah Carey will be announcing the award. (D)
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FORMULA 51

Release: 10/18/02-(R)-(1:32)-[SCREEN GEMS/ALLIANCE ATLANTIS/FILM COUNCIL]- SAMUEL L. JACKSON, EMILY MORTIMER, ROBERT CARLYSLE, MEATLOAF, RHYS IFANS: I suppose the only reason I am not totally panning this OBVIOUS knock-off of the Guy RitchIe "Lock, Stock and Two Smoking Barrels" success, is that it is filmed in Britain. Points for location. Otherwise FORMULA 51 holds a distinct secret in its title that could be interpreted as to say: 'we are watching a formula film being made for the 51st time.' I have to admit that although I like Samuel L. Jackson, I am not all that sure that either he, or his agent, was awake when making the decision to do this one. He is so totally into his Pulp Fiction mode here and more than likely could have sleep walked through his paltry lines (just how many times CAN a person say 'mother-fucker'?) The story is droll and silly taking Jackson as Elmo McElroy, a BRILLIANT scientist and creator, and having him create the world’s best drug. Formula 51, according to McElroy, is 51 times the potency of cocaine, ecstasy and several other things that I can't quite remember (nor care about.) He calls his drug POS51, the POS standing for Power of Suggestion, which would lend me to believe that the drug wasn't a huge creation after all, but in essence a placebo in search of the right word on the street 'buzz' (so to speak). But whatever the case McElroy jets off to Liverpool to deliver the drug for a couple of million while jilting the evil burned drug lord (Meatloaf) back wherever the hell they came from. Of course The Lizard (Meatloaf) isn't taking this well and sends over the stellar, kick-boxing hit woman Dakota (Mortimer) to wipe him out... only to change his mind and have her wipe everyone else out so he can get to McElroy alive. Needless to say everything goes wrong and everyone is getting killed or taking VERY powerful laxatives by mistake. It is truly a horrendous piece of crap in these arenas. Add to this mess the highly unlikely and very unsatisfactory teaming of the Scottish bad guy brand in Carlysle and street-wise bad ass Mother-fucker in Jackson. Yuck to the 51st degree. This is a hoot in parts because it is so bad giving as an example the need to put Jackson in a kilt throughout the movie to be ridiculed nearly everywhere he goes... and, I guess, give us, the unfortunate audience the feeling of just how much of a MAN, McElroy really is. I suggest that you wait for video on this one... if you feel the need for this genre at all. (C)
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THE RING

Release: 10/18/02-(PG-13)-(1:55)-[DREAMWORKS PICTURES]- NAOMI WATTS, MARTIN HENDERSON, BRIAN COX, DAVID DORFMAN, DAVEIGH CHASE: In an interesting twist at a much better quality, THE RING strikes a few similar poses to the film that I really didn't care for last night. I suppose I should preface this by explaining that horror movies are not one of my favorite genres considering I find them all so unbelievably stupid and a far stretch to any sort of reality. There are some that I have experienced in the past that WILL make me think and WILL scare me. Usually there is a good deal of interest if the film has anything to do with a story based in truth. THE RING is based on a well-received Japanese horror film and does hold some elements of the macabre... but falls short in its entirety to truly scare or even make the audience jump as some have done in the past. NO, this is NOT another Exorcist. FAR from it. But at the same time it does hold a few fun elements such as a good lead in Naomi Watts, a handsome cohort in Martin Henderson and an interesting albeit far-fetched back story. The story is about a video tape that is rumored to kill those who watch it exactly 7 days after the viewing. It begins with the high school girl and some friends who saw it at a cabin in the hills near Seattle. When reporter Rachel Keller is is 'involved' (the high school girl was a good friend to her son Aidan) she picks up the story for the newspaper she works for. Of course in the process Ms. Keller also watches the tape and begins to experience the odd and fearful visions and coincidences that occur (not to mention the phone ring with the voice of a young girl at the other end telling the viewer they have 7 days left.) THE RING is about the search for the meaning behind this evil tape. The reason the little girl in the tape is seemingly doing what she is doing. The how’s and whys about the woman and man also in the tape. In the end, however, the film is not as scary as one would probably have wanted it to be and doesn't pack the wallop on any greater level than a 3-part Stephen King television movie. The deaths are not all that exciting either considering they are pretty much happening off screen. All in all I find THE RING to be a film that might be fun for a good rainy afternoon on video... perhaps then the eeriness of the subject matter might feel a bit more than it did on the big screen. (B)
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FEAR DOT COM

Release: 08/30/02-(R)-(1:41)-[WARNER BROTHERS/MDP WORLDWIDE PRESENTATION]- STEPHEN DORFF, NATASCHA McELHONE, STEPHEN REA: I have been fortunate during this year in being able to intuitively know when a film is going to be something that I would rate so poorly that I might even leave a theater before it was over. As such I have not had any "bomb" ratings and have enjoyed a fair smattering of choices. Until now. I took Feardotcom home for a viewing from my work (on tape). I figured it would be harmless and, since it was free I would really not be losing much. Except of course the hour and 41 minutes that it ran. Feardotcom is a cheap and idiotic stab at the overdone and often asinine horror industry. It doesn't rate a great deal of time in review either. Suffice it to say what I discovered was a silly and more than likely unintentionally funny look at victims of a deranged scientist who traps his victims and displays them on this website that then promises to kill those who have accessed it in 48 hours. What were the actors thinking? Why? Perhaps we should take the writer and subject him to the website. Perhaps it would have been better to have done so before the film got made. Alas, however, it did and in that I saw it at home I must say only that it will add color to the listing of reviewed films with it's bright pink BOMB listing. Do not bother checking this one out in any shape or form. Leave it on the web and rent something else. (BOMB)
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COMEDIAN

Release: 10/11/02-(R)-(1:21)-[MIRAMAX]- JERRY SEINFELD, ORNY ADAMS, COLIN QUINN: This adept and skillfully made documentary is a work of contrasts between the seasoned and awesomely talented Jerry Seinfeld and an 'up-and-comer' with the opposite temperament and mood, Orny Adams. To the point of being a story about the same topic told through two VERY different personalities, COMEDIAN is completely honest about the things that they actually do have in common... such as neurosis and a constant nagging about acceptance and whether things are 'working' or not. What is most notable is the differences in ego and attitude between the man who has made it and the man who was trying (I say WAS because a lot of Orny Adams seems to have been filmed up to 2 years ago and he is by no means a known comic at this point.) There is a pleasant honesty to the behind the scenes confidence and fear that Jerry Seinfeld projects. The stand up comedian is in a world of 'moments'. It is very difficult to gauge how a joke will go over and how an audience is going to react to things that have worked elsewhere. Every day is a new experience and the key to the career is to do it that often. Peppered with cameos by some of the most respected of the stand-ups (Bill Cosby, Chris Rock, Garry Shandling, Robert Klein to name a few) COMEDIAN seems to be telling us what works and what doesn't. It plays out the human nature of those who perform EVEN when you would expect that the situation would be completely opposite. It is a telling and often funny look at just what Jerry Seinfeld has been doing since his huge hit sitcom about nothing left the air. It is a must see for Seinfeld fans and a rich pleasure for those who enjoy either comedy clubs or the documentary genre. Any chance I have to see Seinfeld at his droll best is a reason to see this film. (B)
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THE RULES OF ATTRACTION

Release: 10/04/02-(R)-(1:50)-[KINGSGATE FILMS/LIONS GATE FILMS]- JAMES VAN DER BEEK, IAN SOMERHALDER, SHANNYN SOSSAMON, JESSICA BIEL, KIP PARDUE, THOMAS IAN NICHOLAS, KATE BOSWORTH, ERIC STOLTZ, FRED SAVAGE: As teen angst films go in the market, I would have to say that this is one of the better ones. Based on a novel by Brett Easton Ellis (American Psycho), there is not much more to describe than the lives of some rich and high college students at an affluent college, toking, snorting and fucking. That would be the briefest and simplest of synopses for what is being done here. This doesn't exactly give the film the crown of originality that it might have wanted to achieve... but at the same time it rises above a mighty slew of other teen angst films with the likes of Freddie Prinze Jr. and Jason Biggs that tend to pander ONLY to the lowest common denominator. That is NOT to say that RULES doesn't partake in that form of ritual as well... but there is a bigger sophistication to the filmmaking and the characters, as shallow or unsympathetic as they tend to be, are much more drawn out than what we usually will see. RULES takes a look at an ever-evolving circle of lust and desire amongst a core group of 'students'. Sean (Van der Beek) is the self-centered snarly James Dean sort, a man dabbling with a house full of drug dealers and his own narcissistic world while finding infatuation with the lovely virginal Laura (Sossamon). Meanwhile Laura, who takes to looking at the pictures of a textbook on Sexually transmitted diseases before going out is smitten with the jock/party boy Victor who doesn't even know the poor girls name. Laura used to go out with pretty boy Paul Denton, who, it would seem, turned out to be gay and now has a mad infatuation with Sean Bateman. There are loads of peripheral players in RULES that fill out the playing field appropriately but the biggest star of the show is the film work that intermittently plays its own role effectively. Split screens permeate and are used in ways that we haven't yet seen otherwise. And there is a segment that capsulated the European trip of Victor that is wild, wooly and beautifully narrated and edited.... leaving you feeling as though you had just taken that trip yourself in under the five minutes that the segment has aired. There is nothing really all that new about the RULES of Attraction that should send anyone rushing out to the theater. It is never a bad experience to sit and watch some pretty people falling all over their lives with excess and bad decisions... but then in college that is a general rule no matter what one looks like. (B)
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PUNCH-DRUNK LOVE

Release: 10/11/02-(R)-(1:37)-[REVOLUTION STUDIOS/NEW LINE CINEMA/COLUMBIA PICTURES]- ADAM SANDLER, EMILY WATSON, PHILLIP SEYMOUR HOFFMAN, LUIS GUZMAN, MARY LYNN RAJSKUB, ASHLEY CLARK: Knowing the sort of film that doesn't work for me might give an impression of what does work. PUNCH-DRUNK LOVE, an pseudo-absurd and somewhat disjointed look at love that is nowhere near the stylized view from the rank and file, cookie-cutter romantic comedy big budgeters usually provide IS something that works. Featuring Adam Sandler as Barry Egan, a shy withdrawn, and intensely angry young man, PUNCH-DRUNK LOVE is a 'coming of age' for both star and director. Sandler, who has made his millions on a persona of the nice-guy dork in a slew of films, proves once and for all that these are characters and his range is bigger and believable. P.T. Anderson displays his innovative genius once again by blasting through a genre with never before used styles and definitions of what a romantic comedy is or ever has been. Add Academy Award nominated actress Emily Watson to the mix and there is a tone of believability... even down to the match that is made between her and Egan. The story centers around Barry Egan, the only brother to seven rather bossy and bitchy sisters who tend to make him feel a great deal less than through ridicule and downright nastiness. Egan holds in the rage... at least most of the time as he DOES have a few episodes where it appears with dire results either on a plate glass window, a restaurant bathroom or the heads a couple of blonde brothers. Egan runs his own business selling creative, stylized bathroom plungers out of a garage in Sherman Oaks, California. He is lonely and somewhat confused, but smart and innovative at the same time. One night he calls a phone sex line to talk and naively gives away his vital information setting him up for a con that does nothing but push the otherwise soft-spoken man over the edge. Meanwhile, one of Egan's sisters is trying to set him up with a co-worker (Watson) who ends up growing on him to a point of becoming his life changing experience and a meaning for doing just about everything. Based loosely on a story about a man who found a loophole in a Healthy Choice food contest that claimed you could gain 500 frequent flyer miles with 10 purchases of one of their products, Anderson has taken various styles, moods, and music to create the movie that this year will wear the crown for the film that people either LOVE or HATE. Personally I am going to have to throw myself in the love category... it is different, thoughtful, interesting and quite to the point in most all of its storytelling... even if some of it is food for thought and may not really come to you until long after the viewing. (A)
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HIS SECRET LIFE

Release: 10/04/02-(UNRATED)-(1:45)-[A STRAND RELEASING PRESENTATION]- MARGHERITA BUY, STEFANO ACCORSI, SERRA YILMAZ, ANDREA RENZI: Directed by Ferzan Ozpetek (Steam: The Turkish Bath), HIS SECRET LIFE is a wonderful portrayal of the many definitions of love and sexual ambiguity as told through the eyes of the two lovers of one man as well as the people that surround them. It is a story of betrayal that opens eyes for those who have been betrayed. It is the story of learning and growing, changing and becoming part of a 'family', which in itself is proven yet again to be a broadly defined word in itself. Massimo (Renzi) is an extremely good looking and successful husband to Antonia. They have a beautiful home and a 15-year marriage that is filled with love and excitement. It doesn't necessarily bother Antonia (Buy) that her husband spends periods of time away from their home for various trips that don't seem to need explaining. There is trust there and in the beauty of that trust is the basis of the marriage.... One day, however, Massimo steps into traffic and is suddenly gone. What follows is the unraveling of a mystery and the true meaning not only to who Massimo really was, but to a great part of life itself. Still grieving the loss of her husband Antonia unwraps a painting that had been kept in Massimo's office only to find an inscription on the back from a lover of 7 years. Upon finding out where the painting had been delivered from AND suspecting that her husband had been unfaithful with a woman, Antonia arrives at the address to return the painting and confront its owner, Massimo's mistress. What she discovers instead is a family of society 'outcasts' banded together in a family that is much like any other in its wide array of loving camaraderie, tightness and downright bitchiness towards one another. Antonia is not willing to accept that Michele, the 'mistress' (the gorgeous Accorsi) but continues to visit this different abode to try and unearth some of the reasons that her husband had lied for so long. Antonia, also a clinic nurse, finds herself taking care of Ernesto, one of the young men at this home, who is suffering with the Aids virus. Through the many trips back to this home, a wonderful relationship that can redefine "love" in its simplest terms is built between the two "widows" of Massimo. HIS SECRET LIFE is a beautifully shot tale of what makes people tick... it opens wide the definitions that so many in the world seem determined to look at anyone different upon. It is a simplistic study that breaks down these pictures and reminds us that all its characters are just people thrown together in this life... a life that can so quickly be taken away. It is a sweet and gentle reminder that there is more to life than what we see as love and family. Subtitled and seemingly produced for Turkey but filmed in Italy, HIS SECRET LIFE is a must see for those who live with an open mind and the desire for good storytelling. (A)
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RED DRAGON

Release: 10/04/02-(R)-(2:03)-[UNIVERSAL PICTURES/DINO DE LAURENTIIS PRESENTATION/MGM]- SIR ANTHONY HOPKINS, EDWARD NORTON, RALPH FIENNES, EMILY WATSON, HARVEY KEITEL, MARY-LOUISE PARKER, PHILLIP SEYMOUR HOFFMAN: What we've got here essentially is the Hannibal Lecter show. The good news is that the show is better than the second round (Hannibal). The bad news (and it isn't as though we didn't expect this...) is that the film will never reach the impact and intensity of The Silence of the Lambs... a masterpiece in suspense and evil. RED DRAGON, however, does have its fine points… even IF they are similar or exactly the same as MANHUNTER (with Brian Cox in the Hannibal Lecter role). In RED DRAGON we are not dealing with Clarice... this predates her involvement with the nasty Chianti drinker (although there is a clever nod to the female FBI agent at the end of the film). Norton plays Will Graham, a clever and very gifted agent in his own right. This is a man who worked with Dr. Lecter while at the height of his crimes. This is the man who actually cracked the cannibal's case. Unfortunately for Will there were injuries involved in his discovery and thus, he has retired and moved to Florida with his wife (Parker) and young son. But lo and behold there is another evildoer out there in the south. He is a man that targets entire nucleus families of young father and mother and three kids. His crimes are horrific and his identity or even the reason that his victims are chosen stumps the authorities. Ralph Fiennes portrays the shy and disturbed Francis Dolarhyde, abused since childhood and deformed with a hair lip. He is a grievous and obviously insane loner in an old Victorian house that works at a film lab. RED DRAGON is about this killer and just a little bit about his victims. It is a little bit about Will and his return to the job to help come to the conclusions necessary to avoid more of this 'spree'. But Will couldn't come to his conclusions by himself... he needed, as he had in the past, the help of the Doctor. So off we go to that heavily padded and cell made famous through the conversations of the Doctor and Clarice. Hannibal, however, is not much more than a sidekick and comic relief with his many intelligent and witty barbs thrown around like the sharp knives that Dr. Lecter used to carve up his victims... This is a clever and somewhat thrilling theater experience throughout… there are some fine performances (I just can't get enough of the evil Doc) and excellent camerawork to heighten the visual effects. Red Dragon is a must see for the Silence of the Lambs fans and safe to return to if you didn't like Hannibal. (A)
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TRAPPED

Release: 09/20/02-(R)-(1:39)-[COLUMBIA PICTURES/SENATOR ENTERTAINMENT/RELEASED BY SONY PICTURES]- CHARLIZE THERON, KEVIN BACON, COURTNEY LOVE, STUART TOWNSEND, DAKOTA FANNING, PRUITT TAYLOR VINCE: Despite the continuing proof that Kevin Bacon makes a convincing and downright skuzzy villain, there is not much to like about TRAPPED. The fact of the matter is that there isn't much that is believable about the plot, the performances, the writing or the entire reason this film might have been made. On the other hand it is, I suppose, exactly what it is supposed to be... a film that provides the adrenalin that some filmgoers seem to crave in quantity. Columbia Pictures had their hands full with the release of this film due to the ever-increasing media attention to the plethora of child abductions in the U.S. Although they are nothing new the attention given them by sensational journalism and the Amber Alerts is making the topic more controversial. Unless of course someone took the time to read the script... perhaps THEN there may have been a different take on the film. TRAPPED is highly unlikely. A 24-hour period that targets a well-to-do Doctor and his decorator wife by taking their young child and demanding ransom in a particular fashion so as not to draw attention. At the completion of the 24-hour period the child is returned and everyone goes home... some counting money. The problems? For one I just cannot get on board with the big-screen big budget success story family. Of course they must exist somewhere but why do they always have to be utterly gorgeous in huge fully equipped homes, delivering speeches and being covered in national magazine spreads? And of the scheme cooked up by the unlikely husband and wife team that had been completed successfully FOUR times previous... are we supposed to believe that NOBODY called the police? Are we supposed to believe that NOBODY has a clue that this crack team of child abductors is who they are? And what of motive? Sure... money is something that would motivate the best and the worst of us... but according to Kevin Bacon's character Dr. Wonderful and his wifey Ms. Knockout were targeted because the DOC let the kidnappers little girl die in surgery. PAYBACK. Fine, but was the motivation for the other FOUR kidnappings payback as well? Were they the nurses and anesthesiologists at that surgery? Why did we wait until the fourth round of the game to hit the big bad doctor? There are so many scenes that are too close for call... too many gunshots, car-chases and expert small craft flying to make this a film that I would even remotely buy as real. I KNOW... it is just a movie... but in order to really give us some suspense shouldn't there be a modicum of reality in the picture? Something relatable? If you really have a curiosity to see TRAPPED wait a couple of weeks... I will guarantee that it is out on video by then. (C)
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MOONLIGHT MILE

Release: 09/27/02-(PG-13)-(2:03)-[TOUCHSTONE PICTURES/HYDE PARK ENTERTAINMENT]- JAKE GYLLENHAAL, SUSAN SARANDON, DUSTIN HOFFMAN, HOLLY HUNTER, ELLEN POMPEO: From the pedigree alone one would expect MOONLIGHT MILE to be a masterful piece of film work tugging at heartstrings and making us weep all the way to the Academy Awards in March. And although there are some finely tuned performances and a topic brushing along the fringes of a real life episode, MOONLIGHT MILE lacks in other areas that might actually be essential to the full movie-going experience. For one thing, the story (as previously mentioned it is loosely based on the real-life death of Rebecca Schaeffer, who had a relationship the film's director and writer Brad Silberling) doesn’t deal all that much with the death that is at it's center. Sure... we find out that there was a shooting. Sure... we understand that young Joe was engaged to be married to the young woman. Sure... we know that she was the only daughter of the very well put together couple of Jo-Jo (Sarandon) and Ben (Hoffman). But something is missing. Could it be that we really DON'T know Diane? There are pictures of her from time to time... and there are references to her character (especially in a climactic court scene towards the end) but WHO was she? Why were these people grieving for her? Aside from the fact that she was a loved one... there was a part of me that wanted to feel more about HER in order to understand THEM. As I said before there are some very sturdy performances from the leads. Gyllenhaal is an apt player of the befuddled and torn innocent. Here is a young man living with the parents of a woman that he either was (or wasn't) going to marry because of the guilt feelings that he harbors revolving around situations that were really out of his control. Sarandon, always the spot on character actor, is wry and witty... quick with the tongue and an expert to NO end with the sharp sarcastic statement. Both Sarandon's performance and the familiar confusions displayed by Hoffman are rock solid even if there are points when I wonder if these people didn't really know their daughter much better than the audience who never sees her. Are they grieving? Are they THAT well-put together that their grieving process would seem so easy? MOONLIGHT MILE sports a great many advantages. It's cast, the soundtrack and a chance to sit and wonder how one would deal with this sort of situation in their own lives. But it just wasn't the sort of 'tear-jerker' that I had anticipated. I didn't feel sorry for any of these characters. Were they played by anyone less than the caliber found here I might have been inclined to take a nap. (B)
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SECRETARY

Release: 09/20/02-(R)-(1:44)-[LIONS GATE FILMS/DOUBLE A FILMS/TWOPOUNDBAG PRODUCTIONS]- JAMES SPADER, MAGGIE GYLLENHAAL, JEREMY DAVIES, LESLEY ANNE WARREN, and STEPHEN MCHATTIE: If your tastes run towards the dark and slightly off-center "Secretary" is the film for you. Featuring one of the more interesting and unusual love stories to grace the big screen, SECRETARY is a story about sadness, pain and isolation with a twist that puts tongue-in-cheek as it tells us that there is a mate for us all out there somewhere. Starring the up and coming Maggie Gyllenhaal (sister of Jake) as Lee, a young and troubled 20-something fresh out of an institution for episodes of self-mutilation that stem out of the pain that she feels from her home life. Her father (Stephen McHattie) is an alcoholic and her mother (Lesley Anne Warren) is abused and lonely. As the film opens Lee watches her sister married and her father stumbling around the ceremony helplessly. This sends her back to her room and the small sewing kit that holds her tools of choice. But when Lee discovers the help wanted ads in the garbage as she attempts to throw out her kit of carving utensils, she discovers a twist in her path that will guide her through these alienations and into a world that she didn't know existed. Upon arriving to the Law offices of E. Edward Grey, certificate of typing Awards in hand, Lee walks into one of the oddest offices she could have chosen. But Lee fits like a glove without even knowing and soon is under the spell of both the job itself and the creepy, monotone and mysterious Grey himself (a low-key and hilarious James Spader). What develops slowly and very surely is the anything but typical relationship between dominant and submissive characters. Lee is the typist secretary aiming to please and at the lawyer’s beck and call. Grey is the dry almost obsessive compulsive drawing red circles around Lee's typographical errors and chiding her sternly about each one (along with the various personal quirks that tend to bother him to no end.) Lee, however, is becoming hooked on the inflictions brought about by the boss and learns that the pain she has inflicted upon herself in the past can come together in different and less harmful ways. Meanwhile she is engaged to the less severe Peter (Jeremy Davies) who, it would seem, she is settling for when she accepts a marriage proposal. Secretary is a different love story... a story about hope and 'cures' in one of the more unique storytelling styles. A clever cast and the type of subject matter that would have most family groups foaming at the mouth are the main reasons that I am happy and proud to see film like this little gem get made. (A)
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THE BANGER SISTERS

Release: 09/20/02-(R)-(1:34)-[FOX SEARCHLIGHT PICTURES]- GOLDIE HAWN, SUSAN SARANDON, GEOFFREY RUSH, ERIKA CHRISTENSEN, ROBIN THOMAS, EVA AMURRI: I cannot resist Susan Sarandon (and in this case the winning combination of Sarandon and Goldie Hawn). Although the big budget feel good type of film usually leaves me cold and somewhat empty.. The Banger Sisters is redeemed through its primary cast and the fact that even though we KNOW that things cannot and will not work out just as easily as the way they do here... at least they are all having fun. Goldie is Suzette, a somewhat dried up and over-the-hill bartender and Whisky-a-go-go staple that holds the claim to the claim of fame that Jim Morrison (NOT Van) passed out with her underneath her in the bathroom. The act, however, is not working any longer and neither, it would seem, is Suzette. As a result the former groupie pulls out her magic box of memories and comes across the pictures of herself with Lavinia or Vinnie (Sarandaon) in their hey day as The Banger Sisters... groupies extraordinaire... OFF to Phoenix she goes and on the way she meets up with an introverted and somewhat angry writer (Geoffrey Rush) who doesn't want to ride the bus. Even though I am not quite sure why Harry is in the movie in the first place (one of those cheesy big budget subplots)... he does manage to somehow be the meeting point or go-between for the two former groupies as Phoenix becomes part of the picture. Suzette pulls up to the grandiose house of the former Vinnie only to find that things are not at ALL what they used to be. There are fountains and landscaping and behind it all is the incredibly uptight and very beige Lavinia. Here lies the situation that makes The Banger Sisters what it is... a nearly two-hour situation comedy. Can Suzette, the one who LOOKS like she doesn't have it together teach Lavinia, the one who seems like she does the truth and importance about life? What a dilemma. In the films length, however, it seems that everything works out and gets better. It is a shame, actually that they didn't tackle the situation in Iraq or find George Bush to remind him the important things about life as well. God knows I am always going to like Susan Sarandon in no matter what it is that she decides to do. God also knows that The Banger Sisters is purely silly fun and in that state of mind a significantly suitable and enjoyable film (with a rather decent soundtrack to boot.) This could be a better bet as a video rental with a group of fun-loving friends in your living room... but as big budgets go this one would he one of the better ones. (B)
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IGBY GOES DOWN

Release: 09/13/02-(R)-(1:38)-[UNITED ARTISTS/ATLANTIC STREAMLINES/CROSSROAD FILMS]- KIERAN CULKIN, CLAIRE DANES, JEFF GOLDBLUM, SUSAN SARANDON, RYAN PHILLIPE, AMANDA PEET, JARED HARRIS, BILL PULLMAN: Poor Igby. Another product of an all-too dysfunctional family or perhaps just an intensely overbearing brat? After watching the slightly dis-jointed IGBY GOES DOWN... I am not quite sure which he is, but I will say that I enjoyed the process in trying to figure it out. Igby (the always good Culkin) is a victim and an aggressor. Having been brought up with his addicted and over-the-top mother (Sarandon) and somewhat loopy and seriously depressed father (Pullman) no one can deny that he has every reason to rebel against the world and become exactly the brat that he is. Where, however, is that line drawn? Perhaps it sometimes isn't. At least here we know that not to be the case. Igby is a wild oat forever running away and handing out sarcastic comments to those around him. He is all of 15 or 16 years old and yet has the magical ability to attract hotties like Rachel (Amanda Peet)... who then proceeds to sink deeper and deeper into heroin addiction, and Sookie (Claire Danes), who eventually falls instead for Igby's snooty older brother (Ryan Phillipe seems to really know how to play snooty, doesn't he?). What is really going on here? Igby hasn't got a clue how to grow up. This is a coming of age story for a new millennium. There is fear and there is anger because of that fear. This is a story that shows that there is reason that people coming from backgrounds such as the one portrayed here do the things they do. What might be different for Igby is that there seems to be a richer landscape for him to do it in. Although he doesn't have his hands on a great deal of money... it always seems to be there or evident nonetheless. IGBY GOES DOWN is a film filled with characters that you just don't get... and yet relate to on many levels. They are quirky and untouchable. They are warm and they are distant. It is a film that moves in abstract and disjointed zigzags across the screen but all points seem to meet with young Culkin staring into the screen with a smirk on his face. Fine performances from Sarandon, Pullman, Goldblum, Danes and Peet round out the interesting pull to dysfunction. This film might not be for everyone... but does ring similar to the style of a Rushmore or The Royal Tennenbaums (B)
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POSSESSION

Release: 08/16/02-(PG-13)-(1:42)-[WARNER BROS./FOCUS FEATURES]- GWYNETH PALTROW, AARON ECKHART, JEREMY NORTHAM, JENNIFER EHLE, LENA HEADEY, TOM HOLLANDER: There is a magnificence and beauty about the days of yore in London and its surrounding areas. Likewise there is a splendor that comes from the myth of unrequited or lost love that is so wonderfully revealed in this story of the past and present, poetry and the truth. Possession took me by surprise, possibly because of my infinite connection to Britain, but more so because the film spells out the many differences and equal amount of similarities that love and relationships have over the many years. Gwyneth Paltrow is again a stunning charmer with British accent and Aaron Eckhart makes his way to my "A" list as a leading man. Eckhart is the yank research assistant at the British Museum for a Professor who doesn't pay a great deal of attention to anything said. Roland Mitchell (Eckhart), however, will change that as he discovers a love letter in a volume of poetry written by a 19th century artist named Ash (played by Northam in flashbacks). What this reveals is the beginning of a path to discovering there was much more to the happily married family man and sends the researcher out looking for answers to the mystery. Roland comes in contact with Maud (Paltrow), who at first is not at all sure of the goal in mind, and has the attitude to display her doubt. What follows is the slow revealing of more letters and information that will eventually unravel completely all theories to the poet, his lover Christabelle La Motte (the stunning Jennifer Ehle) along with himself and Maud at the same time. There is a wonderfully edited momentum of scenes taking us from location to location seamlessly between the 19th century and the present day. The cinematography and breathtaking landscapes are green and expansive playing one of the more important roles to establish the mood of the struggles each of these characters is facing. Little by little we learn more about all involved for all centuries and by films end there is a significant, albeit somewhat expected pay-off that leaves the viewer feeling fulfilled and satisfied. Directed by Neil Labute, POSSESSION is a departure from the 'evils of men' style of cinema (often starring Mr. Eckhart). Labute has succeeded very well. POSSESSION is not only a woman's film to satisfy the need for a romantic fix. It is a story about the past and a statement about us all in the present. This is a film that could very well garnish some attention come the end of the year film award period... time will tell, because time always does. (A)
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ONE HOUR PHOTO

Release: 08/24/02-(R)-(1:38)-[CATCH 23 ENTERTAINMENT/KILLER FILMS/FOX SEARCHLIGHT PICTURES]- ROBIN WILLIAMS, CONNIE NEILSEN, MICHAEL VARTAN, DYLAN SMITH, ERIN DANIELS, ERIC LASALLE: When Robin Williams wants to play creepy he is able to play it to the hilt. As a quiet, lonely and obsessed manager of a one-hour photo shop inside a large drug store, Sylvester (Sy) is a man without a life... or so it would seem. He is, however, a man who would like to have a life as a member of the Yorkin family, a family that has brought their rolls of photographs to his store for years. Sy takes to developing an extra set for each roll they bring and pasting them to a large wall in his home in a creepy, albeit artistic homage. The Yorkins are a beautiful and well off family of three. Father Will is a successful designer with his own firm, wife and mother Nina is a gorgeous woman and Jake, who just turned 9 is sensitive and aware of his surroundings. It is Jake that first senses Sy's loneliness but nobody can really see that Sy is somewhat of a loose cannon. The ironic twist in Sy's life, it would seem, is not that he is some homicidal loony as most of "One Hour Photo" would suggest, but a desperate man with a sordid past... a child who had been forced to do things while posing for photographs now working in the very industry that compromised his youth. In as much as Robin Williams silent and almost overdrawn characterization would fit the profile of almost any sex-criminal or stalker, there is also the sense that one gets that everything that Sy does is for the love of a vision that he cannot seem to let go of no matter what he does to try. He wants to be Uncle Sy. When he is unceremoniously let go from the job that pretty much defines his life things begin to unravel swiftly and the darkness that has always skirted the edges begins to take a hold of Sy's personality. The firing, timed unfortunately with the discovery of infidelity among the Yorkin's, sets off a sudden chain of events that brings the life of a quiet and unassuming man to a crashing crescendo of pain and anger. What will happen with the character is more or less written on the walls of psychiatric law... but the intentions are still something that will have to be examined. One thing is for sure as a result of a messy and out-of-the-blue event such as the obsession unveiled to the Yorkins... there is no doubt that they will now be taking their own DIGITAL photography. Performances are above par. Williams has an amazing range of creepiness and does the total opposite of his normal manic self. The Yorkin's are finely drawn and absolutely gorgeous. One Hour Photos is a worth watch that will NOT necessarily keep you on the edge of the seat as much as simply very grateful for your own life. (B)
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SUNSHINE STATE

Release: 06/21/02-(PG-13)-(2:21)-[SONY PICTURES CLASSICS]- EDIE FALCO, JANE ALEXANDER, ANGELA BASSETT, TIM HUTTON, JAMES MCDANIEL, RALPH WAITE, MARY ALICE, BILL COBBS: John Sayles is a thinker's director. He is a cerebral caretaker adept in the honing of character and issue from all manner of facet and cultural difference. His work has covered a wide range of these United States filled with all manner of subject and style but always with a series of stories intertwining into one main thought. In SUNSHINE STATE the main story revolves around a small Florida community and the big business that wants to turn it into something far more developed. Amongst the finely woven characters on a sparsely populated Florida island are three separate factions of life. There are the African Americans who are fighting to keep the island as it has been. Led by Dr. Lloyd (Cobbs) the fight is taken to the town hall meetings and on to the sites of change themselves. Liberty, the section they hail from, according to the Doctor is historical, having been the only beach that allowed blacks in Florida back in the 50's. Side stories here would include the tenuous relationship of Desiree (Bassett) and her mother Eunice (Mary Alice). Eunice has brought her boyfriend (McDaniel) and Eunice is now taking care of a 15-year-old troubled cousin. On another side of the island Golf courses and the Plantation development people. Whites with attitude exemplified through the shallow and judgmental conversations of the foursome at play on one of the courses. Then there are the whites on the other side of the island, whom the Plantation types see as the "Whites who eat Catfish" (a quote by Alan King's character). The main storyline amongst them would be the hard driven and jaded Marly (Falco) who runs the local restaurant and hotel... owned by her crusty old father (Waite). Her ex-husband is a bitter chip on her shoulder and a visiting landscape artist (Hutton) is something that seems to be appealing to her. There are other characters throughout including the stressed out town 'organizer' who is trying to create a tradition through her Buccaneers day (Mary Steenburgen) and her husband, who is forever attempting unsuccessful suicides (Gordon Clapp).. but the main story is the island and how change threatens to destroy the way it IS and create the way it will be. Sunshine State is a lengthy and wordy film. There are many out there that crave this style of filmmaking. There are some very good performances (particularly Falco, Bassett and Hutton) but it is an investment coming in at almost 2-1/2 hours. (B)
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MY BIG FAT GREEK WEDDING

Release: 04/19/02-(PG)-(1:35)-[GOLD CIRCLE FILMS/HOME BOX OFFICE/MPH ENTERTAINMENT/IFC FILMS]- NIA VARDLOS, JOHN CORBETT, MICHAEL CONSTANTINE, LAINIE KAZAN, ANDREA MARTIN, JOEY FATONE: Over FOUR months after its release I finally get around to seeing why everyone is talking about MY BIG FAT GREEK WEDDING. The truth of the matter is that I didn't want to see the film. I thought I would wait until the video arrived because I had seen the television pilot based on the movie and found it generic and mundane. After weeks of hearing praise I made the move this weekend and found the film version (based on the play) to be a HOOT and a slight, if not simply done slice of (Greek) Americana. Based on the concept of pride of family and heritage Toula is a homely (at best) youngest daughter to an over-bearing (yet loving) couple living in Chicago in a home adorned with a mock Parthenon, Greek flag and an assortment of statues of the Gods. Smothered and told time and time again that she needs to be married to a Greek man, have babies and feed everyone it is really no wonder that this flower had a very hard time blooming... there was never any sunlight. The film offers a small spattering of wonderfully witty voice-overs that playfully pick at the obsessive behavior of the staunchly Greek family and the effects all of this play on Toula as a child AND a woman. For the audience it hits the spot on all levels. The crux of the film is in transformation and acceptance on all levels. In to Toula's life walks the charming suave and intensely understanding Ian Miller (Corbett), a college professor that would seem to be one of the nicest men on Earth. Toula, as a result, is a changed woman who soon finds herself making the necessary improvements to get herself out from the hostess position that she seems destined to die in at the family's Greek restaurant (Dancing Zorba), an on with her life. Soon she is back in school and talking her way into her Aunt's travel business (the always extremely funny Andrea Martin, while secretly dating and falling in love with the obviously NOT Greek professor. But finally the secret is out and the entire Greek hoard called a family is in on the secret. Acceptance is NOT easy to come by, especially with her stereotypical (and yet wonderfully sweet) parents (the superb Lainie Kazan and Michael Constantine). As the relationship progresses there are funny comparisons of the types of families that the couple come from... on one side the exaggerated, loud and overbearing Greek side and on the other the light, quiet and unassuming parents of Ian. As with most any romantic comedy there is a rather predictable ending, but the difference with GREEK is that you simply cannot see it any other way. All I can tell you is if you've heard good things about MY BIG FAT GREEK WEDDING, they are true. This is the sleeper HIT of 2002, and deservedly so. (A)
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24 HOUR PARTY PEOPLE

Release: 08/16/02-(R)-(1:57)-[UNITED ARTISTS/FILM CONSORTIUM/FILM FOUR]- STEVE COOGAN, PADDY CONSIDINE, DANNY CUNNINGHAM, SEAN HARRIS, SHIRLEY HENDERSON, LENNIE JAMES, ANDY SERKIS, JOHN SIMM : 24 Hour Party People is a rich and indelibly fulfilling period piece that goes beyond the mere recounting or restatement of fact and brings a larger-than-life character to life through the direct, off-center and wonderfully charismatic performance of Steve Coogan. Coogan is Tony Wilson, a man with a non-overpowering ego that managed in the 70's through the 90's to take his love of the city of Manchester, England and capitalize on it and the burgeoning musical trends and bands that were surfacing there at the time. The film begins with a puff piece from the television talk show that Wilson held in the early 70's while he jumps off a cliff in a hanglider and sails for a period only to drop and roll... and then look at the camera to compare this metaphorically to the future. There will be other low-key and comical sidelines that show Wilson doing various and sundry bizarre pieces but the main focus will be his foray into the Manchester music scene. It begins on June 4, 1976 in a hall that has the already notorious Sex Pistols playing for a small group of only 42. In that group sits Wilson, along with future members of Joy Division (New Order) and Happy Mondays. It is a turning point for the always glib and responsive Wilson. He begins to highlight the 'underground' punk movement on his television program where no other station will do so. Later he begins to highlight the performances through a club he buys called the Hacienda... an nurturing warehouse that eventually turns into the phenomenal success of a Studio 54 caliber, only to succumb in 1992 because the crowds are more into the world of Ecstasy than the profit-making alcohol that the bar supplies. Throughout the film Wilson speaks to the camera while we are treated to pieces of history via the life and times of this man and all around him as well as the various bands that rose from the movement. From early on with the success of Joy Division, fronted by the mondo-intense Ian Curtis (Sean Harris), to the poetic brilliance of the wildly addictive Shaun Ryder of the Happy Mondays the film is vibrant and lively. It is up and down as much as the careers of those involved, but the process is so real and believable and Coogan's Wilson is so charming and enjoyable that the film rocks throughout in a manner that no biographical ever really does. Add to the mix the wonderful and groundbreaking music of the era and the wonderfully shot Manchester scenery (including some beautiful aerials) and you've got a film that is not only memorable, but upbeat and playful all around. This is a must see for those from the era to those who simply like to be entertained with classic and motivating film work. (A)
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MY WIFE IS AN ACTRESS

Release: 08/09/02-(R)-(1:47)-[SONY PICTURES CLASSICS]- CHARLOTTE GAINSBOURG, YVAN ATTAL, TERRENCE STAMP, NOEMMIE LVOVSKY: I am torn as to whether I understood... in some sort of empathy or was simply annoyed by the lead character in "My Wife is an Actress". All I have ever learned about in the world of relationships and psychology is the simple truth that NOTHING will work without trust in your partner. Psychology aside, I must remember that this is a fictional movie and thus... not REAL... or was it? The creator of the film (Attal), after all, is in real life married to the woman who portrays his actress wife (Gainsbourg). We have to know that there is more than a modicum of truth or experience poured carefully into the script and performance of the gnawingly jealous man that is the centerpiece of the film. Yvan is a sportswriter in Paris who never would have believed his luck in not only meeting, but falling in love and marrying French film star Charlotte. There's is a happy union, colored by smaller and insignificant points of annoyance as Yvan realizes the trappings that are part of being hitched to a public figure such as the lovely Charlotte. The trouble, however, is intensified when the actress is off to London to film a movie with the suave and handsome actor John (Terrence Stamp). Yvan, who has just seen Charlotte's previous film and been accosted with questions about how he 'reacts' or deals with the fact that his wife is essentially having sex with other men for all to see. Yvan's mind begins to create the very scenarios that those who ask the questions might have assumed were THEY in his shoes. And, unfortunately he takes the jealousy to a point of annoyance to his wife, who, aided by the questions and mistrust, is almost 'forced' to take a look at John in a way that she might not have done otherwise. "My Wife is an Actress" is a film about the way we react when we don't trust. There are two sides to this story, although Charlotte does tend to come out the more sympathetic of the two leads. Yvan is a pest and utterly annoying as he tries to work his own way through these feelings... even taking acting classes to better understand where his wife's motivations may lie. The story is a familiar one and there is a satisfying and healthy completion to where it is going. Add the sidebar storyline of Yvan's incredibly annoying sister and her husband fighting over whether or not to circumcise their unborn child when the time comes and you have yourself a film that makes ME wonder why some people bother having a relationship in the first place. I did, however, really enjoy Stamp's character and the lovely Charlotte Gainsbourg. (B)
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THE GOOD GIRL

Release: 08/09/02-(R)-(1:34)-[FOX SEARCHLIGHT, MYRIAD PICTURES]- JENNIFER ANISTON, JAKE GYLLENHAAL, JOHN C. REILLY, MIKE WHITE, ZOOEY DESCHANEL, TIM BLAKE NELSON: There really is no doubt that Jennifer Aniston will transition smoothly from the pinnacle of her television career into a lucrative and believable one in film. She is as convincing here as many Academy Award winners have been in the past. She is Justine without one iota of Rachel to be found. She is The Good Girl. The irony here, I suppose is that this life she is portraying could and probably IS about as far away from the life she really lives as can be. Is there something that our favorite New York City debutante is drawing from to pull such a convincingly sad portrayal out of her hat? Justine is a sad and angry woman of 30 living in a small southern town and working daily at the Retail Rodeo. This is a boring town of sad people that don't seem to have a whole lot of direction. There is a stoic sense in nearly every character, a feeling of being hicks and proud of it. Justine is married to a man seven years who paints houses and gets stoned (Reilly). She thinks he is a pig and, quite frankly, he is. His good buddy is the dim and conniving Bubba (Nelson), just to put things into perspective it should be known that Bubba idolizes Phil. Justine seems to sleepwalk through her life at the Retail Rodeo giving make-overs to women who end up looking like circus clowns and staring 'secretly' at the new cashier, a dark brooding fellow who keeps to himself (Gyllenhaal). Holden (not his real name, his 'slave name' is Tom) develops a crush on the curious Justine, met only with the craving for difference that she is feeling. An affair ensues, whether it be in the storeroom of their workplace or a local hotel that she charges to her credit card. Holden (called thus because of his penchant for "Catcher in the Rye") wants to leave town with the young woman and get away from it all. Although there is a great part of Justine that would love to do that, leaving all these people she hates and the town that does nothing for her behind. The Good Girl is about the struggle from within that Justine goes through as she jumps from new reality to newer reality without ever really thinking about consequences. This is a story that is a mix both of the dramatic sadness of lonely and directionless lives and a dark, almost sinister sense of humor that lifts the audience for brief moments from the mind-numbing bleakness of the lives these characters are living. Standouts aside from Aniston are the deeply disturbed portrayal of Holden by Gyllenhaal, Zooey Deschanel as a rebellious risk taker, small town style and the wide-eyed Bible-thumping store security guard played by Mike White. If for anything, The Good Girl should be experienced in order to watch the range that Aniston is proving to be capable of. It isn't the happiest film I've ever seen... but it does work on many levels. (B)
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XXX

Release: 08/09/02-(R)-(1:53)-[COLUMBIA PICTURES/REVOLUTION STUDIOS]- VIN DIESEL, ASIA ARGENTO, SAMUEL L. JACKSON, and MARTIN CSOKAS: Allow me to explain. I am not a big fan of the 007 way of thinking. Overcharged super spies in an over-amped world filled with perilous situations usually do very little for the juices in my imaginative soul. But... if it does well in the box-office I will undoubtedly be getting a bonus as an employee of a very big SONY summer slate. Therefore I must yell the following: GO XXX!!! XXX truly is James Bond for the new generation. Vin Diesel is that cocky, every-man (well... everyman who happens to be a tougher than nails extreme everything he-man), a new generation of spy for the masses. XXX is not a killer flick. It isn't going to be remembered for its stellar script or above average acting skills. It is, however, one of the better offerings in that brand that comes from the big studios all summer long. This is an action-packed special effects film that satisfies pretty much throughout the nearly two-hour length. Diesel is without a doubt the action figure that aging actors like Schwarzenegger, Willis and Stallone once were... only with a harsher edge, a punk mentality and the sort of look that might allow people of nearly any ethnicity to feel a bit of themselves in him. If you can get past the cocky attitude and painfully stupid manner of speech (Sorry New YAWK but it just doesn't sound very bright...) Diesel is definitely a new breed of matinee idol. Strong and masculine, brash and brave... James Bond is beginning to look like Mary Poppins. XXX should and probably IS appealing to teens of all ages. It will pull in MALES for its effects and extreme sports mentality (not to mention the scores of explosions) and Women simply because Vin marches around without a shirt several times. The plot is familiar and somewhat predictable. Tough as nails federal guy in a top-secret spy agency recruits bad boy. The macho man passes test after test and assignments are agreed upon solely because it is that or jail time for all the big bad pranks pulled in the name of extreme sports and punkdom. Xander Cage, or X to his friends (Diesel) is sent to Prague to infiltrate a gang of defected Russians planning a heinous crime on the world. (OH MY!!) Amongst them is the steely eyed and equally vicious female toughy... I can't remember her name... must be Natasha or some such thing (Argento IS quite good at the nasty glances and barbs). Lots of things blow up. Lots of people die. Lots of technical equipment is paraded out and used at opportune moments. Quick thinking and timing elements are rampant and the world, by golly, is saved. There are some seamless special effects that do make the obviously fabricated stunts seem a bit more realistic... but god help us all if anything remotely like the plots of this sort of film were to ever be true. Diesel is on board for a sequel to this new franchise so more hideous ills are promised for future escapades. In fact... if we are lucky they can extend this franchise out to 10 films.... they could call it XXXX. (B)
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SIGNS

Release: 08/02/02-(PG-13)-(1:47)-[TOUCHSTONE PICTURES]- MEL GIBSON, JOAQUINN PHOENIX, RORY CULKIN, ABIGAIL BRESLIN, CHERRY JONES, M. NIGHT SHYAMALAN: When first seeing ads and teasers for SIGNS I wondered exactly what to expect. Was this to be normal summer fare that would provide the viewing audience with spectacular light shows and aliens blowing up buildings so as to appease what most seems to believe is the best way to handle creatures from another planet in motion pictures? Or would M. Night Shyamalan bring us another wonderfully spiritual look at what otherwise seems so far off or out of the realm of our own capability and range of belief. Signs, it turns out, is more a film about faith than it is about the invasion of beings from somewhere besides the planet Earth. It is about loss and love, family and the struggle of one man, a reverend, to re-learn everything he thought he knew about God and the concepts of coincidence or everything happening for a reason. One of the best ways to look back on the film would be to tell a future audience that there are indeed SIGNS throughout the film as to what it is that we will be experiencing later as an emotional climax to the story. Not the least of which is the strange appearance of crop circles in the corn fields of Father Graham Hess (Gibson), a mild-mannered and under-stated man left with his two children when his wife was pinned to a tree by a driver who had fallen asleep at the wheel of his truck (Shyamalan) six months earlier. They live on a 'farm' outside of Philadelphia along with Graham's brother Merrill (Phoenix), a former minor league baseball star who has come there to help his brother with the home and children. What is happening on the farm and in the crops, however, is not isolated to this small Pennsylvania town. It is soon common knowledge and a media reported frenzy that these 'signs' are appearing all over the world. Before long the alien aircraft is being sighted and soon enough even the aliens themselves are caught on tape for the stunned viewers to see. But SIGNS plays so much deeper than the bumps and scares of terror that this small family experiences as a result of what is happening to the world. Graham especially is moving eloquently through his struggle to understand what he is supposed to do without his wife... and then there is the grand question of why she had to go in the first place. Gibson gives one of his best performances to date and shines in the room with the two younger actors (Culkin and Breslin). Phoenix is quirky and perfect as the younger brother learning a bit about his own faith and relationships. SIGNS is beautifully shot and a wonderful 'food for thought' film. Plot points could very well be vital to the enjoyment of the experience and thus will not be revealed here. Suffice it to say it is a film that should be watched for it's SIGNS. (A)
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FULL FRONTAL

Release: 08/02/02-(R)-(1:51)-[MIRAMAX FILMS]- DAVID DUCHOVNY, JULIA ROBERTS, BLAIR UNDERWOOD, CATHERINE KEENER, MARY MCCORMACK, DAVID HYDE PIERCE, NICKY KATT, ENRICO COLANTONI: Steven Soderbergh can pretty much do whatever he likes. He's had several hits in a row (Erin Brockovich, Traffic, Ocean's 11) and an Academy Award for best director. He is also well known to be the sort of director that actors want to work with. So when he called the star-studded cast and asked them to do FULL FRONTAL there was no hesitation... even when they were told that the film would be for scale AND they would all have to drive themselves to the set, do their own hair and make-up and costumes. They came. What follows is a movie that looks and feels like a film done for under 2 million... but with recognizable faces and names. There IS a difference. Essentially a movie within a movie, Full Frontal is following the lives of those involved with and around the filming of this 'movie.' The film is called "Rendezvous" and would seem to be on a bigger budget than "Full Frontal". In it are movie star Francesca (Roberts) and Calvin (Underwood) whose odd love story on screen can sometimes be confused with the tedium of the 'real' world actors going about their business. Full Frontal, it seems, is within a day long period that centers loosely on the party for the 40th birthday of producer Gus DiLeo. What happens throughout Full Frontal is what is happening to the people that are involved with the filming of Rendezvous... in bigger and smaller roles throughout. There are the aforementioned stars of the film, the writers Carl (Hyde Pierce) and Arty (Colantoni), Carl's HR executive wife Lee (Keener), her sister the masseuse (McCormack) and a narcissistic actor playing Hitler in a play (Katt). All are somehow and in some way intertwined. All ramble on about the world and the state of their lives in and around the business or those involved in the business. None of them seem very happy. It is, in affect, somewhat like a Henry Jaglom meets Woody Allen in its almost non-scripted feel. The filming is rough and choppy throughout but the feel seems to meet the subject matter and the actors do tend to rise to the occasion. Full Frontal is not all that bad in terms of the whole picture. It is, however, a film that will undoubtedly go down on Soderbergh's resume as something he did for fun. An experiment that didn't necessarily go wrong, but didn't necessarily go right either. It is a noble attempt in how the real actors were willing to work for the man on the bare budget. For that reason and the fact that it didn't insult me in the least... it is worthy of the viewing and suggestible to those who like something rather tepid... but different. (B)
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MR. DEEDS

Release: 06/28/02-(PG-13)-(1:31)-[COLUMBIA PICTURES/NEW LINE CINEMA/HAPPY MADISON PRODUCTIONS]- ADAM SANDLER, WINONA RYDER, JOHN TURTURRO, ALLEN COVERT, PETER GALLAGHER, JARED HARRIS: The worst thing anyone to do to a film like "Mr. Deeds" is compare it with the original. There is no way to do so. Then, of course, one has to think rationally and put themselves into that office where the decisions were being made. What seems most obvious to me is that Adam Sandler is a businessman. His Happy Madison creates films for mass appeal. In Mr. Deeds recreation of a classic was not the intent whatsoever. What the goal was, and is, was to take a completely over-the-top story and dumb it down (as only so many of our better performing films can do these days) for the purposes of pleasing the masses. It would appear that the film did just that. That doesn't mean by any length, however, that it is a GOOD movie. What it means is that America looks for simplicity and over-the-top formulaic film in order to FORGET what they are watching on the news or reading in their papers. For that reason it works. The premise here is as old as time. Mr. Deeds is a simple hometown hick from New Hampshire who is apparently the only living heir to the fortune of an eccentric old coot who had billions and a company conglomerate to boot. When the big bad executives find Longfellow Deeds the plan is to convince him to sign over his stocks that will allow them to be able to break down the company and make millions. Along on the ride is cub reporter Babe (aka Pam Dawson) who works for a tabloid television show. She cons Deeds from the very beginning only to (GASP) fall in love and eventually save the day for Dudley Doright. It is a film filled with corporate greed and high-class snobbery. Big City vs. small town USA (and trust me the big city is the loser here.) It is a film about the simple man being the smarter one. It is a film about anything in your life that made you want to stick your finger down your throat in order to get rid of it. Mr. Deeds is a fluff piece with the right attraction: Adam Sandler. There is something about this man that appeals to the everyman in America. More power to him. Keep in mind that there is absolutely nothing stand out in this film. It is what it is and plays on it like a fiddle in tune. Sandler is NO Jimmy Stewart, but he knows it... Mr. Deeds is no Mr. Deeds goes to Town and IT knows it. (C)
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THE KID STAYS IN THE PICTURE

Release: 07/26/02-(R)-(1:33)-[USA FILMS/HIGHWAY FILMS/MINISTRY OF PROPAGANDA PRODUCTIONS]- NARRATED BY ROBERT EVANS: Make no mistake about it; Robert Evans has lived a very interesting and varied life. But the truth of it all has to be that the life has been filled with ups and downs quite worthy of the telling that "The Kid Stays in the Picture" will tell you. It is a well rounded, swiftly moving and excellently put together work of art. It is a film that says it all and rather well. The title refers to a comment made on a bullhorn during the shooting of a film based on an Ernest Hemingway novel called "The Sun Also Rises". Evans, who had been discovered for the role by Zanuck at a restaurant (after having been discovered by Norma Shearer at the pool of the Beverly Hills Hotel not six months earlier for another role) was being 'dismissed' in the form of written protest by Hemingway, Ava Gardner, Tyrone Power and Eddie Albert for having received the role. Zanuck, it seems, disagreed and made the statement above the protest. Evans stayed in the picture... but as it turns out... DIDN'T really aspire to the acting that was in front of him... but instead to the role that Zanuck had played. He wanted to wield the power and moxy that Zanuck was able to... and eventually did. The career that Evans highlights in "The Kid Stays in the Picture" is one of some absolute astonishing highs... and some mindblowing and catatonic lows. It is hard to even conceive (these days) that a 'pretty boy' such as Evans could so easily be plucked not once, but twice to big film roles and rise to the power of running a major studio to boot. Evans was the man behind Paramount pictures for years... having been responsible for such hits as "The Godfather", "Love Story", "Chinatown", "The Odd Couple" and "True Grit". This was a man that was able to write his own ticket and play his own game. A power broker who at one time was in a business that sold ladies pants (with his brother.) The documentary is a smart and beautifully structured piece of work often pasting photography on top of moving backgrounds convincingly to portray the scene being narrated. This, mixed with a fair amount of real footage of the various periods and laced with the often biting and witty narration offered by the man himself provides the experience with a dicey and REAL block of time about the back stories that the public LOVES to read and hear about Hollywood today and in its formative and growing years. For some the name of Robert Evans may not be household and thus the draw could be limited. For MOST, however, I would suggest the experience simply because it is good filmmaking on a real and real interesting subject. There are, as Evans states, three sides to every story. Yours, mine and the truth... (B)
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AUSTIN POWERS IN GOLDMEMBER

Release: 07/26/02-(PG-13)-(1:36)-[NEW LINE CINEMA]- MIKE MYERS, BEYONCE KNOWLES, SETH GREEN, ROBERT WAGNER, MICHAEL YORK: First I should say that the third installment of the Mike Myer's Austin Powers franchise is a hoot. There are a substantial number of laughs and side-splitters throughout the film, enough so to make the sitting well worth its while. That aside I should also say that were ALL the potty jokes to be removed the film would undoubtedly run about 15 minutes long. Therefore there is a fine line that continues to be drawn with this sort of humor and film. WHY, one must wonder, is it that we as a country seem to NEED all this bathroom humor to be entertained or to create a funny movie? Worse than that... why is it that we, as Americans, seem to LOVE it so much? Whatever answer you come up with I should remind you that this is a movie about ridiculous characters and even more ridiculous situations. They are intensely tongue in cheek and it most definitely does work. Back again are the dentally challenged secret agent from the British 60's warping his way through another time machine adventure to the 70's and then back to the future to 2002. Joining in the silliness is the return of the delicious Dr. Evil and his sidekick Mini-me. If this is going to continue they may as well rename the franchise "Dr. EVIL in..." as it is this character that is shaping up as the real winner of the series. This time around they are after the notorious Goldmember (yet another disgusting character performed by Myers... this time he is Dutch.) Goldmember is creating a beam that will cause the flooding of the earth and its subsequent destruction (enter maniacal laughter here.) Powers is aided by an old flame from the 70's in Foxy Cleopatra (the aptly performed and grossly over-exposed Beyonce Knowles of Destiny's Child) and runs into a plethora of cameos throughout the film... most of which were a surprise to even me. Hilarity, as one would expect, ensues and the world is of course saved... but there is, it would seem, a set-up for even further escapades through the MGM vaults for new Bond name rip-offs and the continuation of a moneymaking franchise that New Line would be foolish to end here. Make no mistake... this is light, fluffy and irresistible. It is the Saturday Night Live Skit movie that actually works in a full-length feature... three times? If the Farelly Brothers style look at the world doesn't match your sensibilities, however, and you cannot stomach the endless 'stream' of pissing and farting references or jokes... perhaps a nice independent would be more suitable. Otherwise, grab that popcorn and sit your ass down for a pleasant and thoroughly gross hour and a half of potty jokes. (B)
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TADPOLE

Release: 07/19/02-(PG-13)-(1:27)-[MIRAMAX FILMS/IFC PRODUCTIONS]- AARON STANFORD, BEBE NEUWIRTH, SIGOURNEY WEAVER, and JOHN RITTER: There is this implausible feel to the sly independent feature "Tadpole". It is the part that runs the entire engine. I kept asking myself about statutory rape and had to let that thought fly and remember that this was a movie and nobody was scheming or taking 'advantage' of any situation. That aside I begin to wonder where I was at the age of 15 and whether or not this sort of storyline might have made any difference in my life. Again I go off the topic. "Tadpole" has some absolutely delightful moments of laughter as we watch the uncomfortable machinations of a young man's crush on his STEP mother play out on a visit to his home in New York City from school on Thanksgiving holiday. Tadpole, a name that only the evasive doorman at his father's apartment building still calls him, is Oscar Grubman. He is a 15-year-old going on 40, a boy with a man's mind and the taste for older, and more refined women. The film opens as he travels home to the apartment for Thanksgiving telling his school friend (Soprano's Robert Iger) that he is in love and would reveal it to the object of said desire this weekend and possibly that night. The opportunity, however, really doesn't present itself and Oscar is instead forced to walk home a girl his own age. With no interest whatsoever the lad throws the girl into a cab and proceeds to get drunk and hit on a showgirl (who takes his wallet). It is his Step-mother Eve's (Weaver) friend Diane (Neuwirth) who finds the boy stumbling home and takes him up to her apartment to sober him up. What follows is a slight seduction in the guise of a back rub (Diane is a chiropractor). The question would have to be who is seducing whom. It is Neuwirth's sly and irreverent take on the whole situation as Oscar expresses his fears of the tryst being revealed in the wrong places that make this film worth the price of admission. Neuwirth is outstanding and sexier than any starlet on the rise. Weaver and Ritter are also well-cast although the much more 'mature' Weaver as Eve is a slight long shot for the adulation for this young man. Tadpole is shot digitally which tended to make the viewing a bit more difficult from time to time. It wasn't, however, at all unwatchable. It is a pleasant and very humorous diversion from the familiar summer fare that wages throughout the cinemas at this time of the year. It is a comedy of difference and artsy taste. (B)
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ME WITHOUT YOU

Release: 07/12/02-(R)-(1:47)-[SAMUEL GOLDWYN CO./FIREWORKS PICTURES/DAKOTA FILMS]- ANNA FRIEL, MICHELLE WILLIAMS, KYLE MACLACHLAN, OLIVER MILBURN, TRUDIE STYLER: As I sat watching "Me Without You" I found myself wondering whether or not I was really enjoying what was unfolding in front of me. It wasn't actually until after I had left the theater that I began to realize the benefits of the film I had just viewed. First and foremost I come away mesmerized by the performances of most everyone in this film, particularly the two leads Michelle Williams and Anna Friel. It is Ms. Williams’s performance, however, that is still with me hours and hours after the film has ended. Here is a young actress from a popular television show in the U.S. (Dawson's Creek) that has successfully begun a transition into the next phase of her career by accepting challenging roles that remove us from the teen angst and talking head notions of the Creek gang. Ms. Williams, who plays one half of the best friends duo of Holly and Miranda (she is Holly) plays a young British woman who has allowed herself to be overshadowed by the strength and controlling manner of the other half of that relationship, Miranda (Friel). The truth, of course, is that Friel is masking her own insecurities and actually would seem to NEED Holly around in order to make herself feel better. Unfortunately that doesn't seem to bold well in the long run for Holly... who creates the very role it would seem that Miranda has assigned her. Through the years (the film opens in 1973 and works its way to 2001) it would seem that the two friends were somewhat addicted to each other. They talk many times a day and share just about everything in their lives. It is the boisterous Miranda, however, that would seem to have all of the advantages, whilst Holly lives the role of the mousy and bookish shadow to a tee. Throw into the mix Miranda's older brother Nat (Oliver Milburn) a handsome chap who Holly secretly (and not so secretly in some parts) is in love with. It would seem, however, that what Holly wants in life (especially in her men) comes as a threat to Miranda and as such the latter is forever trying to sabotage the relationships in Holly's life. The trials and tribulations, in hindsight are a wonderful dose of the realities that I have not only seen, but also often FELT in my own life. "Me Without You" is a wonderful little slice of that life. It is strong and capable and throws in a wonderful soundtrack and some nifty pieces of the periods it inhabits at the same time. Independent film lovers rejoice! Me Without You is a wonderful piece of work all the way through... even if it is something that takes a small dose of digestion in order to understand what it is you've just been a part of. (A)
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THE ROAD TO PERDITION

Release: 07/12/02-(R)-(1:59)-[DREAMWORKS, 20TH CENTURY FOX]- TOM HANKS, PAUL NEWMAN, JUDE LAW, JENNIFER JASON LEIGH, STANLEY TUCCI, DANIEL CRAIG, TYLER HOECHLIN, LIAM AIKEN: Someone at the Academy is undoubtedly taking out a few Oscars out and shining them up. In the tradition of an end of the year release that smacks of classic in every way shape and form, summer has just been thrown a curve ball with the outstanding and award-worthy "Road To Perdition". Look for Mr. Hanks, Mr. Mendes, Mr. Newman, Mr. Self and Mr. Hall at the end of the year gatherings. Set in 1931 Chicago, 'Perdition' is a masterful piece of storytelling done in the most graceful and beautiful of styles, a story told for Adults in the midst of a slew of summer films for the mindless masses. Sam Mendes, an Oscar winner in his first film "American Beauty" has followed up with the sweeping tale of a hard-edged gangland-styled Irish Mafia killer in Chicago. Michael Sullivan (Hanks) is a sullen man who leads the caustic family life with his wife (Leigh) and two sons Michael and Peter (Hoechlin and Aiken). He has worked for many years for the 'mob' boss John Rooney (Paul Newman) who, in effect, is his surrogate father. Theirs is a relationship that could be described best as a better father-son relationship that that of Rooney's real son Connor, a hotheaded and money hungry predecessor to the 'throne'. When Rooney sends his son out with Michael to 'talk' to another boss with a problem it is Connor that shoots the man and triggers the killings that really begin this tale. On this particular night young Michael Sullivan, who along with his younger brother Peter has always wondered what their father actually did for a living, has stowed away in the car and witnesses the bloodbath in the warehouse. As a result Connor, who is dealing with under-handed financial records, decides to have the young boy AND his father eliminated. When the plan does not work to kill the older Sullivan he realizes that there is something amiss and comes home in time to discover that Connor has killed his wife and youngest son in cold blood. Young Michael had not been home. "Road To Perdition" is about the relationship between the father and son as they hit the road in order to take the boy to relatives in Perdition. Along the way the story deals with further killings and bloodshed, but dives head first into relationships in a manner most fitting. Not only is Sullivan, whose biggest fear is that his son will follow in his own footsteps, dealing with HIS son, but Rooney is also forced to work through his own problems with both Connor (now in hiding) and his surrogate son Michael. The acting in "Road To Perdition" is outstanding all the way around. Hanks is mind-boggling in an about-face performance unlike anything he's ever done before. This is a modern icon acting along a living legend in Newman's Rooney... a subtle and nuanced performance that could be one of the actor's best. Also shining are Jude Law in a departure role as a ratty and creepy hired killer who also has a penchant for photographing the dead. And then there is the role of the son Michael, handled deftly and magnificently by young Tyler Hoechlin. "Road to Perdition" is a modern 'Godfather', a tale of bloodshed that is told with such beauty that it cries out to be understood and FELT. It is a film worth watching over and over for the stunning direction, the wonderful words and the extraordinary film work, cinematography and use of shadows and sparse landscapes. This is a MUST see and a MUST see again when the awards season hits. THANK YOU, Mr. Mendes for giving me two hours of true film work in a summertime theater. Go figure. A+
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MEN IN BLACK II

Release: 07/03/02-(R)-(1:28)-[COLUMBIA PICTURES]- TOMMY LEE JONES, WILL SMITH, RIP TORN, LARA FLYNN BOYLE, JOHNNY KNOXVILLE, ROSARIO DAWSON: Oh good LORD has the summer season arrived. It usually does on the weekend of Independence Day. They say that it is "Big Willie" weekend (Will Smith has had two colossal hits on the July 4 weekend previous to this in "Independence Day" and "Men In Black"). This should prove to be no exception AND, in fact, a serious notch in the big belt of the affable star. Otherwise... don't look for a whole lot of substance to Men In Black II because it isn't there. It is silly, frothy, and mindless. Remember, however, that this is precisely the point NOT ONLY of the movie but of what summer releases generally are. The biggest audience grabbers seem to be the films that leave the least amount to figure out. Men In Black II exceeds the dumb level but hands over a great amount of visual oddities that make the scope of the silliness a lot easier to handle. It is, once again, a film that is totally goofing on the genre of the action film as well as the science fiction delights of creatures from beyond our universe. The sequel reunites Kay and Jay into the top secret organization that hunts down the scum of the universe but some of its funniest moments are in locating and 'reminding' Kay (Jones) of who he is and the role he played in the past. Kay was neutralized at the end of the last film and is now a postal worker somewhere in Massachusetts. The problem for Jay (Smith) and the MiB is in Serleena (Flynn Boyle), a tentacled alien who takes the form of a Victoria's Secret model to return to the earth and retrieve the light of Kylothian, a planet that came to earth for help some 25 years ago (as highlighted in a the hokey 'Mysteries in History' hosted by Peter Graves in the beginning of the film. It seems the evil Serleena will stop at nothing and once the subplot of returning Kay to his old glory is complete the MiB are back in session and moving along to rid the world of her evilness. Key to this light is a small pizza parlor in the middle of the city, whose owner, it would seem, was an alien. His star employee Laura is witness to the annihilation of her boss by Serleena and becomes smitten (and vice versa) when Jay shows up to further the investigation. So much so, in fact, that he fails to neutralize the woman and consequently she becomes part of the crew for the continued shenanigans. Hilarity and insanity ensue. Joining the cast for MibII is the veteran of the first film, Frank the Pug, whose role expands to that of sidekick. Also along for the ride are the usual array of zany and odd creatures from all over the universe, including the group of large worms that assist in the more active 'battle' scenes that seem inevitable when there is a war going on with the evils of the universe. Men In Black II is a fun piece of summer shenanigans. That is the point. With more mindless summer fun ahead it remains to see how long the MiB forces can stay at the top of the charts. (B)
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LOVELY AND AMAZING

Release: 06/28/02-(R)-(1:31)-[LIONS GATE FILMS]- CATHERINE KEENER, BRENDA BLETHYN, EMILY MORTIMER, DERMOT MULRONEY, RAVEN GOODWIN, JAMES LEGROS: There is something so very simplistic about the film "Lovely and Amazing". It speaks to the heart about dysfunction and insecurity within a family and all of its individual members but draws loudly on the need for each of these people to HAVE one another. It is a thinking film that is highlighted by the stellar and sarcastic performance of its lead, Catherine Keener. There is something so wonderfully inviting about her brand of short, snappy answers with an attitude SCREAMING for anger management. "Tell them to FUCK OFF" is a line that is delivered several times by Michelle, an emotionally dis-connected mother and wife whose philosophy seems to stem from her obvious inability to accept her own lot in life and is dragged cursing through the mud. Her husband, unbeknown to her, is having an affair with a friend, who she isn't feeling all that close to. Her mother (Blethyn) is going in for lipo-suction that has complications leaving her young, brash and opinionated adopted daughter Annie in Michelle's charge. And her sister is an insecure actress (Mortimer) trying to assess her involvement with her career and digest the latest string of rejections (including having been told she isn't sexy.) Michelle is trying to sell her art but her husband wants her to be working which leads her to take a small job at a one-hour-photo where she meets it's 17-year-old proprietor (Gyllenhal) and begins an fling with him (until the boys mother has her arrested.) This is a film about the way we look at ourselves and how much we separate each and every one of us from the other. In essence we are all very much the same underneath... which is capitalized in one very poignant scene in which Michelle, fresh out of jail, stops at a McDonalds and finds the young black adopted daughter Annie sitting there on her own. It is in this moment that I sensed that Michelle realized that this child, a brash and self-important rebellious type was not so far away in character from herself. There are winning performances in "Lovely and Amazing" topped by the stellar Keener, the always-wonderful Blethyn, and the delightfully insecure Mortimer (her major scene with Dermot Mulroney's Kevin, a pompous actor she has just slept with is a grand slam.) This is NOT a big budget film and there is a good deal of interpretation to be worked out of this script. The truth, however, is that it is worth the time and the effort. There are identifiable markings in each and every one of these characters. So much that you might actually begin to find all of them rather Lovely and Amazing..(B)
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PUMPKIN

Release: 06/28/02-(R)-(1:56)-[UNITED ARTISTS FILM, AMERICAN ZOETROPE]- CHRISTINA RICCI, HANK HARRIS, BRENDA BLETHYN, SAM BALL, MARISA COUGHLAN: One thing about "Pumpkin" that worried me is that I kept wondering if they were trying to be serious or if this was a complete GOOF on sororities and the world as we know it. "Pumpkin" was a raging send-off, for sure. It is a film that wants very much to make sure that we know there is something wrong with the way that things might tend to be in certain factions. Sororities are silly. But the problem with "Pumpkin" is that it is NO "Heathers" or... whoops... sorry... I am not able to come up with another example of a good 'sorority' film. There is an empty and shallow cloud hanging over California's SCSU and the girls of AO Pi. They want desperately to win the SOY (Sorority of the Year) but those mean old Tri-Omegas across the street (a house full of cookie-cutter blondes) has won repeatedly for 22 years. This year will be different and with the new house President (Couglan), a smattering of diversity amongst the members, and Carolyn McDuffy (Ricci), the enthusiastic member, there is NO stopping them from winning this year. Carolyn and her boyfriend Kent Woodlands (Ball), all-star Tennis player, are the King and the Queen of the land and just about as popular as you can get on a college campus. But the trouble begins when the sorority decides to take up the activity of helping out and mentoring the less fortunate souls in the Challenge games. This is where Carolyn meets Pumpkin Romanoff, a slightly slower young man who is going to be throwing the discus. Pumpkin is a gentle soul who has been overly nurtured by his mother (Blethyn) and hasn't been willing to develop his skills or come out of his shell until Carolyn steps into his life and he becomes a different man. This, of course, changes the confused about morals and life in general, Carolyn and things begin to go all wrong. First they lose the rushes, then there are the problems with Kent... and if that wasn't bad enough, Carolyn goes and falls in LOVE with Pumpkin. The story is about lessons and the way that we all treat people. It is, unfortunately done in such a tongue-in-cheek manner that it could almost look to make FUN of the very tones it seems to be clinging to. Are they serious or is this about stereotypes and a big hearty goof on those who might actually care? Don't get me wrong... I enjoyed the biting wit and lame characterizations. I found the exaggerated tones and one-dimensional people that surrounded Carolyn and Pumpkin to be slightly entertaining... I am just not completely sure that is the aim of the film's cast and writers. "Pumpkin" is not a complete waste of time or money; there is an entertainment value. I would suggest that you do NOT go to see "Heathers" in the same week for fear of the comparison and the realization that "Pumpkin" will not be remembered anywhere near the same way. (B)
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MINORITY REPORT

Release: 06/21/02-(PG-13)-(2:17)-[20TH CENTURY FOX/DREAMWORKS ENTERTAINMENT]- TOM CRUISE, COLIN FARRELL, MAX VON SYDOW, SAMANTHA MORTON, LOIS SMITH, TIM BLAKE NELSON, STEVE HARRIS, KATHRYN MORRIS: The world that Steven Spielberg has created in "Minority Report" is dark and foreboding. It is classic and curious as well. What struck me most about this futuristic epic (taking place almost entirely in Washington D.C. circa 2054) is how believable the world really is. Often as we have looked into the future directors and storytellers have found it necessary to extend the brush of reality and create a landscape SO far out in advance of the world we already know so as to accentuate the differences between what we are and what they expect us to become. In Spielberg's vision, however, the world of a mere 52 years from now is not one that can be far off from what I can see possible. The cars and highways are automated and the ads of all products flash on walls available. Even more telling is the fact that the people in this film are much like we are today in dress and manner... having merely assimilated to the world of the 'future' the way we have with what exists today as opposed to the way we lived 52 years ago. It is also safe to say that Tom Cruise had found himself a genuine lead that handles his talents appropriately. Sure... he is still larger than life and a hero with a chip on his shoulder, but there is also a sense of sadness that allows us to get behind his character Paul Anderton, a Chief of the Pre-crime division of Washington D.C.'s police force. Pre-crime is an experiment that has been conducted in D.C. for the last 6 months and is being voted upon for use throughout the country in days. The success rate has been phenomenal. With the use of three pre-cognitives who live in a tank at the pre-crime division, each crime is envisioned hours, minutes or moments before it is to occur alerting the division to locate through clues of the recorded visions and set out to make the arrest of the perpetrator before they actually commit the crime. Enter Danny Witmer, sent from the government to look for the weaknesses... or human error in this program that could run in all of the country. By all appearances one would believe that it is he that is creating the problem when the red ball (a cognitive's 'announcement' of a crime that will happen) gives the department a murder about to happen that shows Anderton as the killer. Cruise spends a good amount of time on the run trying to prove his innocence and the film diligently moves through the back story of Aldteron's wife and young son, who was kidnapped some six years prior and never found. There are twists and turns abounding (including the definition of a minority report) and a wonderfully Orwellian production feel that creates an almost bleak look at the future... but an enjoyable and captivating science-fiction thriller for the present. Bases on a story by Phillip Dick, who also created Blade Runner, "Minority Report" is a wonderfully built and sinister look at the future of crime and punishment. This one is a hit and worthy of further viewings. (A)
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DAHMER

Release: 06/21/02-(R)-(1:44)-[PENINSULA PRODUCTION PRESENTATION]- JEREMY RENNER, BRUCE DAVISON, ARTEL KAYARU, DION BASCO, MATT NEWTON: You've got to give credit where credit is due. Taking a subject (or subject matter) as dark and offensive as the workings of the mind of one of the nations worst serial killers is NOT going to win wild enthusiastic response overall. There are the victim's families that you can be sure would find offense to any glorification of such a being. There is the idea behind needing to tell a story as brutal as at all. But the manner in which "Dahmer" is done is something that I can honestly say works on many levels. It isn't a gross out film; it isn't a brutal display of naked bodies or some of the other more gruesome details of the killings of Mr. Dahmer back in the 70's and 80's. What is most intriguing is the subtle tones and inferences that director David Jacobson uses to bring about the desired result. This is the story of a twisted mind, a man who is deviously warped and conflicted and sadly troubled at the same time. The film works through the odd relationships with his father and grandmother and brings to the forefront the dynamic that set him apart from the norm, thus casting him as an 'outsider' and taking the role one step further into his psyche. Kudos should also go to the lead performance of Jeremy Renner, a young actor who had to live the part for a period of 20 odd shooting days... a role that can't have been an easy one to become. His job is a scary and bleak view of the man's mind... a sullen and dark loner unable to connect and gruesomely carrying out some of the more horrific crimes of this past century. Dahmer does not take the crimes into focus as much as one would imagine could have been done. There is more of an inferred aspect to the murders and more characterization of the few men that are a part of the web that Dahmer was weaving in his head. The editing jumps back and forth as if to follow the places that Jeffrey himself is going as he is having certain conversations and living certain situations. It is simple but it paints a brutal picture. It is sad, but it is eerie in how real it can be only aggravated by the fact that it is all from the truth of the case. This is an independent with very little chance to be a breakout because of its subject matter... but the job is well done and the film is worth the viewing. (B)
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ZIGZAG

Release: 06/21/02-(R)-(1:41)-[FRANCHISE CLASSICS/NON-STOP CYCLOPS]- SAM JONES III, JOHN LEGUIZAMO, WESLEY SNIPES, SHERMAN AUGUSTUS, NATASHA LYONNE, OLIVER PLATT: Admittedly, this one came out of nowhere and is a nice little film about a different sort of relationship. ZigZag (Sam Jones III) is a person. He is a 15-year-old boy with Autism living with a highly abusive father in a run down apartment. The relationship that is most looked at in this film is NOT the one between the alcoholic and drug addicted father (Wesley Snipes) but the one between Zigzag's 'big brother' mentor Singer (Leguizamo in an important departure). Singer works in a warehouse and would like to do nothing better than get this kid out of the environment that he is in. Zigzag (so named as the description of how he should get away from trouble, like his father) lives with Singer but as the film is beginning there would seem to be problems with this set up. It is also revealed early on that Singer is suffering from a lethal form of cancer that is going to kill him before his time. But the story doesn't play that maudlin route and instead becomes a story of inadvertent mistakes and situations begun because Zigzag has an uncanny memory for numbers. While standing behind his boss (Platt) in the office of a restaurant where the boy washes dishes, he sees the combination of the safe and finds himself back there that night taking $9,000. The boy unwittingly takes the money home and hands it over to his father and the plot thickens. What zigzag really deals with is the father-like means by which Singer will go to in order to make sure that Zigzag doesn't live the sort of life that he would if caught and prosecuted for the crime... that Singer knows was not something malicious. The very nature of the Autism, it would seem, lends to uncontrolled activities that the child would seem not to have control over. Zigzag is a highlight of the way that events transpire in order to make sure the money is returned and the boy is taken care of. There are some fine performances in Zigzag most notably by the young man who plays the lead. The aforementioned Leguizamo shines as does the smarmy Toad (a nickname for the boss of the restaurant played by Oliver Platt) and the streetwise Jenna played by Natasha Lyonne... not your average hooker with humanity. Zigzag is a film about loners and a darker, sadder part of the population. It rings with truth and plays very well off an excellent script and splendid direction (David S. Goyer). It is a worthy theater experience that should at the very least be rented when released on DVD and VHS. (B)
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SCOOBY DOO

Release: 06/14/02-(PG)-(1:30)-[WARNER BROS.]- FREDDIE PRINZE JR., SARAH MICHELLE GELLAR, MATTHEW LILLARD, LINDA CARDELLINI, ROWAN ATKINSON, ISLA FISHER: What does one expect when they are going to see a full-length feature film based on a cartoon of ridiculous tone from the 70's? A MOVIE of ridiculous tone. BUT... when one goes to the movies knowing what they are in for it is a far cry from expecting something of substance or perhaps even a contender for next year's Academy Awards... HEY... we're talking about Scooby Doo here. I will say one thing: Matthew Lillard (Scream, SLC Punk) was BORN to play Shaggy. The lanky altitude of his frame and the raspiness of the voice are perfect for a character that we grew up with on Saturday morning television. Then there is one of my favorite young actresses in Sarah Michelle Gellar. She is an Academy Award waiting to happen... uh... but not for this sort of work. The film itself is a setback in most ways to the cartoon I remember. It is banal and beyond that expected ridiculousness... but I sat through it just the same. Here the gang is reunited by invitation to a large theme park on Spooky Island. There's a mystery afoot and they are enlisted to find out what it is. Is it a cult? Are there monsters, ghouls or ghosts? Check, check, check... it would seem that the team stumbles upon each and every abomination and trip over the solution each time. What can one really expect to find with a film that takes the adventures of a group of misfit young folks (dare I say teen?) and leads them on adventures to save the world with an over-sized talking (sort of) Great Dane? Speaking of which... the CGI animation is NOT the best that I have ever seen in the films... but then did they really need to go ALL out with a dog? Only Matthew Lillard was really required to spend any time "acting" with the non-existing character and he seemed to handle it faithfully. But what about that mystery Van? What WAS all that smoke coming out of it? Why have we removed that subtext and where is that plasma removal (kiss) between Velma and Daphne? Oh, America... will you never get over yourselves long enough to understand that some things are just in fun AND some people are different than you? I think that about wraps up the whole point behind a film like Scooby Doo. Gosh... the kids might be AFFECTED by such subtext. Yeah... and how many Saturday morning cartoons are we all watching together with those same kids? Scooby Doo is silly. Go to the movies stoned with your same sex partner and you are bound to have a good time. Otherwise... plan on watching something with more substance afterwards. (C)
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THE BOURNE IDENTITY

Release: 06/14/02-(PG-13)-(1:58)-[UNIVERSAL PICTURES/HYPNOTIC AND KENNEDY/MARSHALL PRODUCTION]- MATT DAMON, FRANKA POTENTE, CHRIS COOPER, CLIVE OWEN, BRIAN COX: I suppose the big question here is whether or not Matt Damon is believable as an action hero. The answer is a resounding YES. There is something so very likable about the actor AND the character of Jason Bourne in The Bourne Identity. In an intrical part of the story our hero, a character written by Robert Ludlum in a book of the same name in the early 80's, cannot remember for the life of him who he is. I love that. Not only does the charismatic young actor get to 'discover' some of the capabilities of his prowess and obvious training... but he also has no recollection of any stitch of arrogance or ego that would more than likely come with the super-hero or spy persona that this boy seems to have inhabited. The film opens as an Italian fishing boat out in the Mediterranean finds the floating body that they presume is dead. Once on the boat Bourne is nursed back to health, two bullets pulled from his back and a device with a Swiss bank account number wedged into his hip. Once to shore, it is up to the young man to begin the task of figuring out who and what he is... and perhaps more importantly, what he was doing near dead in the Mediterranean. This is where things start to get a bit hairy. It would seem that a WHOLE lot of people, including the CIA in the United States are after Jason for one reason or another. Tie into this the assassination that Bourne was supposed to have done on an African leader exiled in Paris and there is a puzzle and the pieces are not readily being located. After getting into his bank account in Switzerland Bourne is spotted by an operative reporting to a rogue CIA chief (Chris Cooper) and the chase begins. Here he connects with a misfit who just happened to be at the American Embassy. Marie (the absolutely charming Potente of Run Lola Run) is offered a good sum of money to get Bourne out of the situation and to Paris. What follows is one of the more effective and interesting car chases in modern screen... and the beginning of a relationship that is believable and likeable. Once in Paris the assassination attempts begin on Bourne via a group of agents in various spots (including Bourne's apartment) all sent by the bad CIA seed. Back in the U.S. it is yet another CIA agent (Brian Cox) who is beginning to figure out the intricate tale of corruption and over-stepping of authorities leading towards the ultimate showdown in Paris later in the film. This is typical summer fare. It is a good spy thriller that I wouldn't be in the least surprised to see in more incarnations with Damon attached. Special effects are plentiful but the plot isn't such that would make you roll your eyes in disbelief... it is out there far enough to know that we are talking about fiction.. and Matt Damon is the right man to fill the shows of Jason Bourne. (B)
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THE DANGEROUS LIVES OF ALTAR BOYS

Release: 06/14/02-(R)-(1:45)-[THINKFILM/INITIAL ENT/EGG PICTURES/TRILOGY ENT. GROUP]- EMILE HIRSCH, KIERAN CULKIN, JENA MALONE, JODIE FOSTER, and VINCENT D'ONOFRIO: I was moved in many ways by The Dangerous Life of Altar Boys. First and foremost by the wonderful performances delivered by a young and well cast group of actors. Second by the magnificent blend of a very real story of growing up with the colorful and creative animations sprouting from the minds of the lead. Here we have a small town catholic school and its uniformed charges living lives in dysfunctional families and dealing with the world and society in the only ways they know how. Altar Boys focuses primarily on the boyhood friends of Francis Doyle (Hirsch) and Tim Sullivan (Culkin) who are at odds with the head nun Sister Assumpta (Foster) and, for the most part, their families as well. Tim, is a troublemaker with schemes aplenty, whereas Francis is more the dreamer and the creator of a notebook filled with comic book drawings of all subject manner. At the core of the troublemaking is the need to find themselves and create some excitement in their lives. Francis, at the same time, is falling for the beguiling young Margie Flynn, a seductive girl with a secret of her own. The boys are out there regularly drinking and gathering to come up with ideas for getting away with things. The film, however, is a good deal about principals and the events seem to play effectively in the growth process for Francis, who struggles with his own identity as well as what he has learned about his girlfriend and the eventual calamities that result from the pranks that the boys are pulling. What are different about these moments of triumph or peril are the intermittent animated sequences with the alter egos of the characters involved in the real life story. It gives Altar Boys a touch of difference that plays wonderfully against the sullen mood and the somewhat serious nature of the real life problems that exist in their lives. The film is touching in its subject matter on all accounts sharing a realness that isn't often found when dealing with teens in film. It also marks a departure of character for the co-producer Foster... who takes Sister Assumpta to a place of fear and loathing by most around her as she lives and teaches in a hell and damnation style that sparks a large portion of the struggle that these young kids are just learning to deal with all around them. A pleasant surprise and a wonderful independent offering, Altar Boys was well received at Sundance and is a suggested feature amidst the throng of big budget summer movies available. (A)
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13 CONVERSATIONS ABOUT ONE THING

Release: 05/24/02-(PG-13)-(1:42)-[SONY PICTURES CLASSICS]- ALAN ARKIN, MATTHEW MCCONAUGHEY, JOHN TURTURO, CLEA DUVALL: 13 Conversations About One Thing could easily be entitled 13 depressing topics that intertwine. Ok, that sounds like a HUGE negative. I thought I would get that out of the way. Truth is the film is a masterfully written and acted piece of work. It is edited in a style that jumps effortlessly back and forth through time without leaving the audience prone to confusion and frustration. Make no mistake, however, because it is the sort of script that will leave you out in the cold should you decide you need to visit a concession stand or go to the rest room. God forbid you should close your eyes and take a 5-minute nap. ‘Conversations’ surrounds itself with storylines that intertwine and bring us through separate pieces that all, in some manner of speaking, fit together as a puzzle. There is no 'solution' to this puzzle... it isn't going to answer any grand questions about life or why things happen to people. It is simply an "expose" about people and the challenges that are faced. It is sad and yet it could almost be interpreted as hopeful to those who are able to see through the subtext and understand that there might just be a message in there somewhere about hope and its relationship to the seemingly random way life works in each and every one of our lives. And most definitely the lives of the characters in "Conversations..." Most impressive about the piece is the quality of the performances. Adam Arkin as a middle-aged businessman, a Manager in an Insurance company seemingly stung by life. He is divorced and estranged from his heroin addicted and troubled son. He is increasingly irritated by the happy nature of one of his underlings at work and cannot seem to grasp the concept of happiness or being lucky. Then there is Troy (McConoughey), a young hot shot DA's office lawyer celebrating his victory in court putting away a criminal. He is a man that believes in the right and the wrong being separated. He is honorable and lucky in almost everything that he has ever been or done. His is a story about conscience and guilt, a bit more about the random nature of life and how the world can change in a moment. Clea Duvall portrays the house-cleaning employee, Beatrice, a timid and unaffected young woman with a positive spin on life. To her friend (Tia Texada) she is the answer to any sad situation. But when Beatrice is struck by a car and then later accused of taking a watch from the home of one of her clients her world looks different and her attitude changes. Walker (Turturro) is a physics professor who lives his life in a stranglehold of order. Although it would be easiest to describe the sullen man as routined, he is conducting an affair with a fellow professor and becomes unaware that his wife (Amy Irving) has not only left him but taken all his possessions as well. Each and every one of these central characters comes together in some manner with another to bring the stories into a full circle of sadness verging on hope. It is based on the experiences of filmmaker Jill Sprecher, an effective storyteller whose take on life can best be described as real and eye-opening. Quite frankly I decided to watch this film twice in a row for the details that I thought I may have missed the first time out. It is sad and as such I found it hard to watch the first time. Once I began to feel the message being portrayed I also started to see another film being presented. Conversations is a remarkable piece for actors. It is a tour-de-force for writers. It just isn't the happiest film I've ever seen. (B)
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DIVINE SECRETS OF THE YA YA SISTERHOOD

Release: 06/07/02-(PG-13)-(1:54)-[WARNER BROS./GAYLORD FILMS/ALL GIRL PRODUCTION]- SANDRA BULLOCK, ELLEN BURSTYN, FIONNULA FLANAGAN, JAMES GARNER, CHERRY JONES, ASHLEY JUDD, SHIRLEY KNIGHT, ANGUS MACFADYEN, MAGGIE SMITH: I suppose I should have known that I would find myself amidst a theater full of women in checking out the Callie Khouri (Oscar winner for Thelma and Louise) directed "Divine Secrets of the Ya Ya Sisterhood". In fact I would be surprised if there were more than 5 of us guys among a good 350 sniffling ladies. Based on the best-selling book of the same name YA YA is a very nicely styled look at ages of camaraderie and tradition in the old south. It is about relationships that each and every woman in the audience seemed to find something to relate to. It is a "Steel Magnolia" for the day... except that there are no cancer deaths in YA YA. What I found most pleasant about the film, I suppose is that it didn't become over-bearing or cartoonish, as most films would be when covering the territory that YA YA covers. The South is RIPE for caricature and often is exaggerated to points of ridiculousness and insult. Khouri takes pride in the heritage of the characters and gives them all the charms of the south without marrying them off to their cousins. YA YA brings to life the strained and toxic relationship of Mother Vivi (played by both Burstyn and Judd) and daughter Sidi (Bullock), highlighted here as having hit the skids due to an article in Time Magazine. Sidi, now an accomplished playwright is interviewed and tributes her creativity to the bad-handling, drinking and all-around poor mothering. Vivi is not amused and all ties are severed. The problem is not wearing well for Sidi's relationship with long time boyfriend and fiancé Connor. At the center of the story is the relationship between the four women who call themselves the Ya Ya Sisterhood. As children they pledged their loyalty to each other and the group for life. Even now, in present day they are there for each other AND the current RIFT between mother and daughter ranks as a mission for the remainder of the sisterhood (the wonderfully cast Flanagan, Knight, and Smith). As the Sisterhood sets out on their mission to reveal the secrets of the Ya Ya's as well as the core of the issue that has never been revealed about Vivi and her struggles as a young woman and mother the story reveals a history that both entertains and informs us about each of the characters involved. There is richness to this storytelling and a simple pace set by a choppy back and forth time frame. In a lot of ways this film belongs to the character of Vivi in both actresses portrayals. Ashley Judd takes her through the troubled times and gives a splendid performance the likes of which I wasn't aware she was capable. And Ellen Burstyn is cantankerous and belligerent to marvelous affect... looking marvelous while doing it and completely embodying the role. YA YA is a chick-flick for sure... but there is a fun, guilty pleasure to its warm style and escapist qualities. YA YA!! (B)
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CIRCUIT

Release: 05/31/02-(UNRATED)-(2:00)-[JOUR DE FETE/SNEAK PREVIEW ENTERTAINMENT]- JONATHAN WADE DRAHOS, ANDRE KHABAZZI, KIERSTEN WARREN, BRIAN LANE GREEN, DANIEL KUCAN, PAUL LEKAKIS: Circuit is a somewhat shallow film about the intensely shallow club circuit lifestyle of gay men. Not ALL gay men mind you... just the ones that fit the role. Young, buff and on drugs (none of which I am any longer so perhaps I should warn of a shade of bitterness.) There is a good deal of an honest telling of this sort of lifestyle in Circuit... it just isn't the prettiest result. That isn't to say that some of these guys aren't pretty. They are. What isn't pretty is the truth about the partying giving young gay men the sense of themselves that they were not able to get otherwise. The lead character John (Drahos) says several times that he doesn't need the drugs to have a good time. As soon as he takes his first hit, however, it would seem that his statement was premature. This is a tale of the corruption of innocence and the bastardizing of the gay community. The all night party and the perennially handsome and structured men go hand in hand to great effect here. Funny... when I did that sort of thing I didn't look so hot after several weeks. I digress. Circuit tells the story of John, a handsome cop in a small town that is openly gay and not being accepted on the force. The boss tells him he should go live with his own kind... only nicer. OFF he goes in a flash and suddenly every gay symbol in West Hollywood is being flashed in quick shot edits as our boy drives into his new home. He is going to stay, at first, with his gay cousin Tad (Kucan), the voyeur circuit boy slash filmmaker doing a documentary on... you guessed it.. Circuit boys. What follows is a party in the hills almost instantly and a 'coming out' story that rings true to those who come to the gay Mecca. At this party John meets Hector (Khabazzi), a hustler who is crossing the age line and will not sleep with anyone unless he is paid. Hector and John do build a bond that is one of the core relationships that make sense in the film. There are a few others. There is Gil (Green), the former circuit boy who is old enough to know that it is over for him; Nina, the aspiring comedian who just happens to have gone out with John in college; and then there is Bobby the HIV positive 'dancer' who uses a hypodermic to get himself hard for his shows. These people could be real, but I suppose that I had to question whether or not this is going to strengthen any case for gay men in the United States. Suffice it to say the film does serialize the storylines to a point of giving them the daytime drama feel... if there ever were one with an intense amount of drugs and gay sex... It is a noble job about a slice of society that truly does exist. Am I bitter... no, I suppose I am more grateful at this point that I am out of that stage of life. As John would say... I like the chapter I am in. (C)
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UNDERCOVER BROTHER

Release: 05/31/02-(PG-13)-(1:29)-[UNIVERSAL PICTURES/IMAGINE ENTERTAINMENT]- EDDIE GRIFFIN, CHRIS KATTAN, DENISE RICHARDS, AUNJANUE ELLIS, DAVE CHAPPELLE, NEIL PATRICK HARRIS, CHI MCBRIDE: Truthfully I had no intention of seeing this film in the theater. I thought it would be entirely too much like one of the Saturday Night Live sketches turned hopelessly into a full-length feature. In as much as I would not be surprised if this sort of concept WERE to be an SNL skit... it works gloriously on the big screen and is driven with comic flair by Eddie Griffin. What struck me most about Undercover Brother was the lighthearted and playful tug on race that takes such a serious tone in every day living. NOT that it isn't a serious issue, but this film it is underscored by the exaggerated differences between white and black as well as stereotypes that have lived for eons. There is a top secret organization called B.R.O.T.H.E.R.H.O.O.D. that is out to get "The Man" brought to life in silhouette as an evil cigar smoking bad guy in a fortress out to get the black man. His henchman the feather (Kattan) is a ratty little fellow who is running the show under The Man. When a distinguished General (Billy Dee Williams) looks poised to run for President (and possibly win) and ends up hawking a new chain of Fried Chicken restaurants... it is time to call on Undercover Brother to help the Brotherhood get to the bottom of it all. What follows is possibly one of the funnier films to come out in this style in years. Where normally one would expect to have seen all of the funny lines in the ads for the film, Undercover is filled throughout with sight gags and jokes that work thoroughly and effectively. Essentially the film is a spoof of the black exploitation films of the 70's with a wicked twist of irony and sarcasm. Undercover is a master of disguise and the wit... and a hell of a ladies man (as is proved by his leading ladies Sistah Girl (Ellis) and She-Devil (Richards). I highly suggest the antics of the brother and his cohorts for an hour and a half. Where else can you hear a line like "This is a great day for black people of ALL races!"...(B)
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THE IMPORTANCE OF BEING EARNEST

Release: 05/22/02-(PG)-(1:33)-[MIRAMAX/FILM COUNCIL/NEW MARKET CAPITOL GROUP]- COLIN FIRTH, RUPERT EVERETT, FRANCES O'CONNOR, REESE WITHERSPOON, DAME JUDI DENCH, ANNA MASSEY, and TOM WILKINSON: Oscar Wilde will always be one of the wittiest of entertainment writers. In experiencing his better-known works (such as 1999's "An Ideal Husband") one can only imagine how the work translated in it's day playing the stages of London to the late 19th century audiences. Both "An Ideal Husband" and "The Importance of being Earnest" have were directed by Oliver Parker in a fine mannered and stodgy style that best capitalizes on the aristocratic personalities that reign throughout the stories Wilde wrote. "The Importance of Being Earnest", although slightly less fluid than Parker's last stab at Wilde, is fun and frivolous filmmaking. The cast is perfect and the lines are true to form. As always in the work of Oscar Wilde there is a grand finale that brings all the situations to a prolific crescendo leaving all his characters paired off and happily holding on to each other. Wilde loved to write about love... and it seemed to always work for his characters. The importance of being Earnest revolves around two young men in British upper-class (whether capable of being there or not). One is Algernon (Everett) who maintains a lifestyle while never seeming to be able to pay the bills. His best friend Jack Worthing, who uses that name for the country and the name Ernest for the city, is in love with the aristocrat Gwendolyn (O'Connor) who is also in love with him... and the name Ernest. Gwendolyn's mother is the callous and Queen-like Lady Bracknell, whose home is intricate and palatial and whose attitude is matched. The situation would seem to be the lack of interest on Lady Bracknell's part in giving permission to Ernest to marry her daughter Gwendolyn. During the meeting she has asked for it is his lack of parents that puts her off. Ernest, you see, was left in the cloakroom of the Brighton branch Victoria Train station in a handbag. As Ernest is set on winning over Gwendolyn he decides he must kill off Ernest and just become Jack, who he really is. Upon making this decision, however, he must bring the news to his home in the country and his ward Cecily (Witherspoon), who believes that Ernest is his brother whom she just never gets to meet. Instead it is Algernon who takes the role of Ernest and goes to the country to win over the fair young Cecily. But when Jack and then Gwendolyn show up to the country manor everything gets a bit jumbled and confused. The side story of "Earnest" is also a wonderfully played and silly situation that pits the local priest (Wilkinson) with Miss Prism, the older teacher for Cecily who used to work for Lady Blacknell some 34 years prior. It is these two characters and their unrequited love that provide some of the finer moments of the show. It is no surprise that all ends very well... it isn't exactly a new script, but the sweetness of it all is not what would normally turn my stomach. It works. It's Wilde. There is every reason to spend an hour and a half with this fun film... and it only rates a slight cut below the director's previous attempt at Wilde words. (B)
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CQ

Release: 05/24/02-(R)-(1:31)-[UNITED ARTISTS/AMERICAN ZOETROPE/DELUXE PRODUCTIONS/MGM]- JEREMY DAVIES, ANGELA LINDVALL, ELODIE BOUCHEZ, GERARD DEPARDIEU, GIANCARLO GIANNINI, MASSIMO GHINI, JASON SCHWARTZMAN: CQ, which is revealed to be a shortened version of a clue sent forth in the movie within a movie here, stands for SEEK YOU. It is seen flashed across the editing monitor screen in front of the young and deep thinking Paul, an American in Paris making films in 1969. During the course of CQ Paul is making two films. One is a documentary styled film of all the things, moments, and people (including his French stewardess girlfriend) that make up his life and lifestyle. The other is the Sci-fi picture Dragonfly (a kitsch female spy film that has the look and feel of that period's Barbarella). Somewhat shy and reserved Paul is subtly attracted to the star of the film Dragonfly, Valentine. She is a gorgeous woman originally handpicked by the director of the film (Depardieu). At home Paul's stewardess is slipping away as he himself is questioning his life, the meaning of his work, and the vast array of questions that surround him. Soon the film is nearing completion and the producer (Giannini) is completely displeased with the ending of the film done by the director. After the entire crew is fired, Paul is brought back to continue with a new director Felix Demarco, a flashy, trashy over-the-top nothing that would seem to be there for the namesake. When he doesn't appear one day for some voice dubbing it is Paul that takes over the job with Valentine and the chemistry is there... although not played upon. Soon there is news that Demarco has had a car accident and will not be continuing the job as director. At the same time Marlene (Bouchez) has left Paul. Paul is then given the task by the producer to create the ending for the film and take over the director's job. With this opportunity there is the chance for the young filmmakers growth and a closer relationship with the star herself. This is a film that plays on the silliness and kitsch of the 60's era films and the culture of the uber-artist in the late 60's and early 70's... in this case Paris. The film is directed by Francis Ford Coppolla's son Roman and has style and a bit of the fun that a good independent film should lay claim to. It is somewhat disjointed as both of the films within the film would seem to be... but there is a cohesive completion and, fortunately for the sake of one of the film's major points... an ending. (B)
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INSOMNIA

Release: 05/24/02-(R)-(1:58)-[WARNER BROS./SECTION EIGHT/WITT-THOMAS PRODUCTIONS]- AL PACINO, HILARY SWANK, ROBIN WILLIAMS, MAURA TIERNEY, MARTIN DONOVAN, NICKY KATT, PAUL DOOLEY, JONATHAN JACKSON: Christopher Nolan is a new force to be reckoned with. The director of last year's amazing "Memento" has returned with his next effort on a larger budget. What at first glance might appear as a rather tried and true, run-of-the-mill detective story actually turns into a cat and mouse game set in the land of the all day sun, with what could very well be the first Oscar nominated perf of the year. Al Pacino is absolutely amazing as the seasoned cop sent up to Alaska with his partner to investigate the beating death of a young girl at the request of a friend from days gone by (Paul Dooley). Pacino plays Will Dormer a tired vet who flies up to Nightmute, Alaska with his partner Hap Eckhardt (Donavan) in the midst of trouble at home. There are investigations pending in these men's department and Will is convinced that they will go through his partner to eventually get to him. Dormer, however, is a tried and true cop that wouldn't seem to be the sort that would need to have anything to worry about. His caseload over the years is the stuff that legends make and papers are written about in crime theses such as fledgling Nightmute detective Ellie Burr. It is with her keen attention not only to what Dormer has said in the past.. but with what she herself has innately as a detective herself that helps unravel the real crimes that are taking place in Nightmute. The reason for the NY detective's arrival is the death of a 17-year-old under circumstances that are uncommon to the Nightmute force. As Dormer and his partner key into the evidence more is revealed that indicates a relationship with a man that she kept a secret from her longtime best friend as well as her boyfriend (Jackson). Based on a piece of evidence that Dormer has the force leave to entrap the alleged murderer there is an encounter at a deserted cabin amidst the heavy fog that often hovers the Alaskan town. In the haste of the criminal's escape from the trap Dormer manages to shoot his partner to death believing that it was the perpetrator. What follows is Pacino's take on the questions of guilt vs. intention. Did he actually mean to do this because his partner posed a threat to a secret he himself held that could be revealed in the investigations that Hap had admitted he would be cutting a deal for? The combination of the sun never setting and the theory that ' bad cop never sleeps out of guilt' puts Dormer through a 7-day journey without sleep. Soon the man who killed the girl is in touch with the cop, having witnessed the shooting and now having a bit of evidence himself to bargain with. The cat and mouse head games that proceed between Dormer and the killer Walter Finch (Williams) are excellent played along with the flashes of light, memory and pure mental breakdown because of the lack of sleep. Pacino is a master. He is beyond convincing in his calm manner and restraint but his eyes scream the affect of the lack of sleep and show their own blend of insanity and guilt. This is a masterfully done thriller that brings some powerful talent together. Word of mouth will make this a sleeper summer hit. (A)
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ABOUT A BOY

Release: 05/17/02-(PG-13)-(1:41)-[UNIVERSAL STUDIOS/STUDIO CANAL/TRIBECA/WORKING TITLE]- HUGH GRANT, NICHOLAS HOULT, TONI COLLETTE, RACHEL WEISZ: I would have to admit that Hugh Grant didn't do all that much for me in the past. Aside from the appeal of his being British, I found him to be decidedly one-note in his choice of characters and films. Always the good boy, shy and stumbling over the words while batting his eyes, I pretty much knew what to expect with Hugh in a film. Then came "Bridget Jone's Diary" and his performance as the arrogant Cad boss that Bridget was in love with. Good move. Now we have the perennial rich and shallow bachelor living in a beautiful home and doing absolutely nothing (his father wrote one smash hit song and he lives off the royalties.) What is best about Will (Grant) is that he is unapologetic about the person he is. He isn't interested in being godfather to his best friend's child because it simply isn't who he is... or within his scope of capability. Basically Will is an island, he is the star and only regular character in his own television program (everyone else is a guest). It is his short-lived relationship with a young single mother (a set-up by the friend) that begins a transformation for the bachelor. When she breaks up with him (it is usually the other way around) crying because she feels so bad about it, Will discovers the answer. He must pursue single women. Soon Will finds himself in a meeting for single female parents, lying about having a son himself. Out of the group he manages to secure a date with the one attractive woman and as a result meets the son of another member of the group. Marcus (Hoult) is an odd 12-year-old whose mother (Collette) is a manic-depressive. The boy doesn't fit into school and his mother doesn't seem to be aware of any problems that he might be having at all. What develops through this chance meeting between Marcus and Will is a friendship that seems almost forced upon the older man, but manages to provide the means for both of them to grow. This is a film about relationships. It is about the need for more than oneself for the chance to become more than what we already are. About a Boy, however, is a bit more than that. It is funny. The wry, almost sardonic and unapologetic Grant gives a performance that might well be remembered at the end of the year for its comic tone and change of pace. Collette, too, has a choice role as the mother of the boy grappling with her own struggles with life. Hoult is a casting coup as the oddball boy that wants only to fit in and make sure his mother is all right. A wonderful alternative to the behemoth Star Wars, About a Boy should play well in its romantic comedy format... and show some legs by word of mouth. (A)
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STAR WARS: EPISODE II: ATTACK OF THE CLONES

Release: 05/16/02-(PG)-(2:20)-[20TH CENTURY FOX/LUSCASFILM LTD.]- EWAN MCGREGOR, NATALIE PORTMAN, HAYDEN CHRISTENSEN, FRANK OZ, IAN MCDIARMID, SAMUEL L. JACKSON, CHRISTOPHER LEE: It might be wise that I start with a disclaimer. I am not a Star Wars Prequel fanatic. I don't live for the arrival of each chapter and I certainly do not wait on line... or camp to get to the first screening. I do remember the opening of the FIRST Star Wars in 1977. I was thrilled by that film... its ingenuity and sheer originality. It captivated me and introduced me to some wonderful characters. Unfortunately that was the 70's and they are gone. Star Wars Episode II: Attack of the Clones is a film I've seen before. It is, to me, more of the same in this long epic story. Don't get me wrong, George Lucas is a master storyteller but the drama that is continuing to unfold is murky and lackluster. It is as though we were still in an establishing area of a storyline and in it there is not much to do but provide information. I was bored. The main problem I found with Clones was its wooden dialogue and, in some cases, wooden delivery. The most striking flaw to this film is the dull delivery of Hayden Christensen. Anakin has grown into a beautiful young man... but he was as dull as dirt. There was NO life or passion in his performance. Portman as the Queen was not much better... although in her case I believe it was more as a result of the script she was working from. As the film proceeded there were the requisite battles and witty banter by all characters... nothing I hadn't seen before. The final battle scenes were in fact the best part of the film, their special effects outshining the average big budget film. But to this viewer even THAT posed a problem in that I have seen these battle scenes before. Sure they involved different characters ... for the most part... but there was so much of the same Star Wars laser sword fighting and hordes of computer animated bad guys to blow up one by one. For those invested in the story, and history of the Star Wars saga, this is a film that will highlight and capitalize on the romance and eventual marriage of Anakin and the Queen. It is also the foreshadowing of the descent into the dark side for Anakin aka Darth Vader. For the fanatics... this is a better film than its predecessor... but for the non-fanatic prepare for a flat and somewhat dull, heartless summer epic. (C)
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UNFAITHFUL

Release: 05/10/02-(R)-(2:03)-[FOX 2000/REGENCY ENTERPRISES]- DIANE LANE, RICHARD GERE, OLIVIER MARTINEZ, and ERIK PER SULLIVAN: Are some sexy love scenes enough to sustain a film? Is a story strong enough solely based on the scenes within that accentuate in a teasing manner what the core of the script is about? Are the topics at hand... a happily married couple, a chance meeting, a compulsion or obsession, an infidelity, an affair... interesting enough to be told yet again? Yes and no to all of the preceding. The jury is out... and might be hung to boot. This is a film that holds its own on some levels, but falls sadly short on most others. It is somewhat tedious and taunting... suggesting for the most part what might have been the most interesting part of the film. It is real and yet so much a creation of Hollywood that it will be looked upon with more of a fantasy base than the out-there comic book flair of the recent box-office gangbuster "Spider-Man". Why? Because perfect worlds that are made to look real are more difficult to grasp than the over-the-top make believe that we find in the fantasy-filled summer blockbusters. I tend to get tired of watching 'reality based' couples of intense wealth, education, and FUNCTION (as opposed to the slight dysfunction most of the world tends to fly with) living happy PTA lives and perfect hair days over and over until that moment of truth and 'situation' strikes and gives them a neat and playful problem handled with rage and justification because of the previous neatness and who they think they are in the first place. Bitter? Not really... just bored. "Unfaithful" is a decently structured film. There are some interesting shots and beautiful people (to say the least) all in place for the story to unfold. Successful Security armored car designer Edward Sumner (Gere) and his stunning wife Constance (Lane) are a well-adjusted couple living in the suburbs with their 8 (soon to be 9) year-old son Charlie (Per Sullivan). They have been married for 11-years and seem to be well situated.. but it would seem that Constance could be bored or subconsciously detouring. The active in charities wife and mother is a frequent NYC visitor that decides to go in on one particular day in order to pick up some things for her son's party and finds herself in the midst of what might have otherwise been hailed a hurricane (were we not in just another big-budget film) that lands her smack dab on top of a delightful French scamp holding a pile of books (the yummy Olivier Martinez). What transpires is a cut knee, an invitation for a bandage and a growing sexual attraction that eventually leads the wanton wife back into the city and into a torrid and steamy 'relationship' with the womanizing bookseller. It isn't too long before Constance is careless enough to have been seen by one of Edward's employees (Chad Lowe,) who turns around and informs Edward to look at his own 'fucked up' family after having been fired. Edward, who has been picking up the vibes himself already hires a detective and gets the proof he needs to confirm this relationship exists and the rest, as they say, is what big budget films are usually made of. Don't get me wrong... it isn't as though this were a badly drawn or directed film, the acting is far above average and the people (especially Lane in Martinez in their almost nude scenes) are fun to look at.. but the film as a whole is reminiscent of so many others that it pales in the imagination for what it might have and probably should have been. This is a film that will fade away fast, but will then find its way into some healthy video sales down the road. Sitting at home with a loved one... now THAT is where a story of infidelity should be watched...(C)
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RAIN

Release: 05/03/02-(UNRATED)-(1:32)-[FIREWORKS PICTURES]- ALICIA FULFORD-WIERZBICKI, SARAH PIERSE, MARTON CSOKAS, ALISTAIR BROWNING, AARON MURPHY: Rarely does cinema take a story about a family and a significant period in their lives, and end up creating such an unusually beautiful and somewhat haunting look at a family in trouble. The small independent takes place in New Zealand and the family in question is spending their summer months in a beach home used as a getaway. The story is told primarily through the eyes of the oldest child, a girl of 13 on the verge of adulthood and burgeoning sexuality. Janey (Fulford-Wierzbicki) is at the age that she is attracting the opposite sex and realizing her own capabilities. She is sly about it and, it would seem, manipulative and somewhat demanding with the world around her. It would make sense to meet her mother Kate (Peirse), a somewhat sullen and almost obviously unhappy woman who spends the greatest amount of her time drinking bourbon and flirting with a man other than her husband. Her husband Ed (Browning) is a nice enough man, but it would seem that the spark is gone out of their marriage as he spends most of his time drinking as well. This is not a story about alcoholism, rather it would seem that it becomes the escape clause for a couple that are primary to the mood and feeling of the surroundings. The family also has a young son named Jim (Murphy), who hangs around with Janey and is what would in most respects to be the delightful glue holding together a drifting family. Through the parties and the affair that begins between Kate and the handsome Cady (Csokas), Janey is aware of the problems and begins to grow up all that much more, taking an initiative of her own in meeting and beginning to discover Cady in a manner in which she more than likely had learned by emulating her mother. This delightful character study does spin into a direction that is unexpected and painful for the characters involved, but the truth is that it does not play like a movie-of-the-week. What occurs is not the basis of the story, but a single solitary important piece regarding the history and future of this family. This is a story that is told more by the means of characterization than script. We are treated to so many beautiful scenes of raw acting and real emotion that are NOT overplayed or overwritten.. "Rain" is merely a reminder that independent filmmaking is the place you will always find the most telling and truthful stories. Written and directed by an up-coming talent named Christine Jeffs, "Rain" is a must see 'little' film. (A)
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MURDEROUS MAIDS

Release: 05/03/02-(UNRATED)-(1:32)-[RIALTO PICTURES RELEASE/ARP PRODUCTION]- SYLVIE TESTUD, JULIE-MARIE PARMENTIER, ISABELLE RENAULD, DOMINIQUE LABOURIER: From the title of this film you might get the idea that what you are in store for is a bit of a farcical romp through a cult of villainous maids spreading fear and creating havoc throughout the land while offing their super-rich and ultra hip bosses. If so it probably would’ve simply been titled "Maid" for the ease of sequel numbering. This is not that movie but instead the very interesting and cerebral account of a true event about two sisters in Le Mans, France in 1933. Yes, they are maids, but that is but the foundation of the story as told through the eyes of Christine, a severely paranoid, angry and somewhat reactive young woman with resentment enough for us all. Christine (wonderfully portrayed by Sylvie Testud) is one of three sisters separated while still rather young because their mother (Renauld) has driven their father away. Christine and Emilia are sent to a convent school while Lea, the youngest (Parmentier) stays behind with the mother. Much of the film is letting us know about the girls. It's a psychological set-up leading to the premise that makes the story what it is (thus the title). It can be said that for the American audience there might be a feeling that there isn't enough of what is expected. That would be a shame as the director Jean Pierre Denis paints the portrait of the swiftly menacing moods and anger that Christine portrays while highlighting the innocence and wide-eyed wonder of the younger Lea once the two girls are reunited. This happens when Christine finally gets out of the school and begins to work as a maid through a succession of cold employers. She is determined through this time to protect the now older Lea, who begins to get work in situations provided through their mother (who keeps the money and takes care of Lea). The combination of the cold-hearted employers and her continuing, growing contempt for her mother brings Christine to a boiling point that is almost predictable to the point of its finally erupting. Then there is the element of the sister's relationship becoming sexual. It is a love that neither really understands or fathoms. Its heights of blessing and joy bring Christine to further feelings of rage and loathing for all that she is and those who are around her save Lea. When situated at the home of one Mrs. Lancelin, who would turn out to be as cold as previous employers, the bomb blows and Christine ends up killing both the employer and her daughter as they come home unexpectedly one evening and confront the older sister. This is a sullen and moody tale of need and desire, love and hopelessness from the perspective of a woman on a verge of madness that is induced only by circumstance (she was not tried as insane). For those who like a well set up psychological drama, some intense and beautiful acting and a good foreign film with subtitles, "Murderous Maids" is this weekends foreign alternative to the big studio hoopla of "Spider-Man". (B+)
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SPIDER-MAN

Release: 05/03/02-(PG-13)-(2:01)-[COLUMBIA PICTURES]- TOBEY MAGUIRE, KIRSTEN DUNST, WILLEM DAFOE, JAMES FRANCO, and CLIFF ROBERTSON: Summer has officially begun... and this year it is spinning a fantastic web. The job of the studio system during the summer months is to pull out all the stops and create more and more of a buzz about the creativity, grandiosity and super-duper special effects... all better than the previous year and the previous film. Spider-man DOES deliver the goods in many ways... leaving this independent film lover less than satisfied in only one aspect (aside from the grandiosity in the first place.) The best feature of Sony's Spider-man franchise-to-be is the brilliant casting of young Tobey Maguire, perfect in every way as the nerdy Peter Parker. The actor beefed himself up for the role and looks every bit the part that is expected of him. Likewise the casting of Kirsten Dunst as MJ (Mary Jane) fits the comic strip sensibilities to a tee. What does work for Spider-Man is the adventure, the true-to-form feel of a comic book adventure, the lighthearted and silliness of such a prospect while keeping pieces of the fantasy robust with a likable reality. The effects are timely and appropriate. They are fun to watch and not overly 'fake' as some effects can be. There is a sense that Peter is genuinely having fun when he discovers the powers that he literally wakes up with the morning after that field trip that left him bitten by the genetically altered spider. Watching him discover his new powers one by one is one of the highlights of a film I had thought might be a little bit darker in tone and look. Perhaps I was thinking more in the line of Tim Burton than the adept and clever working of director Sam Raimi. What didn't necessarily work for me to the extent that it was portrayed, were the long-winded and heavy-handed love soliloquies delivered through look and line by both the leads of the film. I have no problem with the true to form love story that the comic book illustrates, but the film, I believe, drew it out to a point of watch-checking. As far as villains go there is an interesting one in this, the first of what will undoubtedly be many Spider-Man films in the future (#2 is already in the works with the original cast.) Willem Dafoe is a nasty looking guy when he wants to be. He is believable and the Green Goblin ends up playing off as a dastardly and fun-to-watch counter to the wholesome, American Pie character of Parker. Of note is the dead-on and highly comical portrayal of the Newspaper Editor by JK Simmons. All in all this is a perfect popcorn movie and one that the kids and adults will all come out smiling from. (B+)
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THE SALTON SEA

Release: 04/26/02-(R)-(1:43)-[CASTLE ROCK/WARNER BROS.]- VAL KILMER, VINCENT D'ONOFRIO, ADAM GOLDBERG, LUIS GUZMAN, DOUG HUTCHISON, ANTHONY LAPAGLIA, GLENN PLUMMER, PETER SARSGAARD, DEBRA KARA UNGER, CHANDRA WEST, BD WONG: There is something distinct, down and dirty about "The Salton Sea". I can tell you immediately that this is the sort of film that will NOT be everyone's cup of tea. One group that will have a penchant for its seedy side of life mentality drama / action film are those who have been or currently are in any way involved with the world of the tweaker. Others could find a good sense of the unusual in a film that rings of darker and more macabre entries into the independent fray (I could almost see this sort of film being done or at least produced by Quentin Tarantino... if he were slumming it.) There are some twists to the story, pieces of information that are clear at some points and perhaps not so clear at others, the sign of the independent is its ability to create the mystery or suspense without having to hit you over the head with the obvious conclusions. The story is based around Danny Parker aka Tom Van Allen, who as we first see him is playing his trumpet in a burning room. Soon we are swept back to the story of Mr. Van Allen and his wife and an unfortunate shooting that killed off the young woman while he floundered unbeknownst in the bathroom. Soon we are also introduced to the life of the tweaker as Van Allen, now Parker, is amongst a sordid group of night birds hooked on meth (among them the always intense Adam Goldberg and the Parker idolizing Bobby played by Plummer.) In one of the more telling scenes of that sort of drug culture Parker and Bobby open the front door to go and score and are struck like vampires as the daylight consumes them. "The Salton Sea" is a bit more than a drug story, however. It is also about corrupt cops and a plan of revenge. Parker, you see, is a snitch to a pair of drug busters (LaPaglia and Hutchison), a relationship that seems to keep Parker out of a certain amount of trouble while ultimately aiding and abetting the very nature of the revenge in mind. Key to the plot is the big drug set up that Parker is more or less 'forced' to proceed with in a home out in Palmdale. Living there is the creepy and sickening Pooh-bear (a convincing and effective D'Onofrio) who is high stakes in the game. Also peripheral in the sordid tale is the plight of an abused woman who lives across the hall from Parker (Unger). All of these elements do actually play with each other to a point to arrive at a feasible and interesting payoff. "The Salton Sea" is no Disney feature. There is a good amount of violence and drugs and that is not always a pretty picture. It isn't a predictable film... and that always rates well in my book. (A)
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THE SWEETEST THING

Release: 04/12/02-(R)-(1:24)-[COLUMBIA PICTURES/SONY PICTURES]- CAMERON DIAZ, CHRISTINA APPLEGATE, SELMA BLAIR, THOMAS JANE, JASON BATEMAN, PARKER POSEY: There is nothing inherently wrong with the film "The Sweetest Thing"... there is, after all, a lot of sweetness to spread around in this amiable 'Sex in the City' romp. The problem is deeper... or should I just say shallower. There is no depth whatsoever to the tale of the silly girls who aren't able or willing to take that relationship plunge. They live from club to club looking for Mr. Right NOW. Truthfully there is very little in this film that has not been done before at least once and often better... but the leads are like familiar friends and as predictable as some parts (if not all) of the film could be I did not find myself wincing at the cliché activities or the super wonderful beings that inhabit this film (as I do so often in films like this.) If I were to describe "The Sweetest Thing" in an easy and swift synopsis I would more than likely color it as a 'road to real love' film, disguised sloppily as a group of vignettes and skits pieced together to create an outcome. Lest there be no confusion or surprise, the outcome is the same as every other outcome in the romantic comedy. Oops... sorry, did I ruin it for you? Christina (Diaz) is an achingly cute and successful (naturally) designer who has racked up a list of eligible bachelors that she, instead of the male, has stood up or ignored after that initial one-night stand. It is a problem of intimacy and fear of commitment stemming from a hurt in her past. So much for psychology. Courtney (a gorgeous Applegate) and Jane (Blair), successful in their own rights, are the friends on the similar path. It is Christina, however, that is the one that is bitten by the bug of a random cupid in the form of Peter (Jane) who she runs into (literally) in a nightclub (natural habitat of sexy and successful intimacy challenged women in big cities.) The film is a series of gross-out jokes and denials that this man means anything whatsoever to Christina. Fortunately for our perky blonde there is an equally sexy and wildly spontaneous girlfriend to help her see the light between cocktails and movie montages (there's always time for a movie montage.) Suffice it to say "The Sweetest Thing" is a lighthearted romp the style one would or should expect with the likes of Cameron Diaz in the lead. That isn't to say that is a bad thing... just an AWFULLY long Saturday Night Live skit...(C)
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WORLD TRAVELER

Release: 04/19/02-(R)-(1:43)-[A THINKFILM PRESENTATION]- BILLY CRUDUP, JULIANNE MOORE, CLEAVANT DERRICKS, DAVID KEITH: Watching "World Traveler" seems to be a little like taking off for a trip without an itinerary. It would seem that the lead, Cal (Crudup) is doing just that... a poignant, unveiling and somewhat meaningful meander through the U.S. as well as a character's questions about life. Cal has a good life, it would seem, a beautiful wife, an adorable young son, an apartment in NYC and a job as an architect. There are, however, those aforementioned 'questions' that loom inside Cal. He doesn't know what his life means and seems to be looking for something more than is there. In the opening scenes of the film there are haunting and almost disturbing images of Cal's lack of freedom and need to roam. In very little time that is exactly what Crudup's character does. No sooner does the light bulb go on over his head than he is out the door, into the Volvo and on the road for a trip with no particular destination on the conscious level. The film deals with the arrogance and self-centered nature of its lead. It points out the struggles with what 'it' (life) might be all about while at the same time painting a portrait of irresponsibility and pomposity that is the stark contrast of the beauty the character portrays physically. There would seem to be very little thought for the family left behind as he plays out little subplots with various sorts in his travels. There is the waitress in Pennsylvania (Karen Allen) who is more than happy to oblige him in support and comfort. Next up there is the construction worker (Derricks) who seems to fall under Cal's spell. He is drawn into a friendship that underscores the power of the 'single' man and the weakness of this particular addictive personality. Cal then picks up a hitchhiker (Liane Balaban) and takes her to Minneapolis St. Paul so she can pick up a package. There he runs into a former classmate (LeGros) who, it would seem, still holds a grudge against Cal simply because of what Call represents. On the road again the traveler next aligns with the most interesting of his traveling guests as he agrees to assist the equally lost and confused Dorcy (Moore) on a quest to retrieve her son from the custody of the child's father. When it turns out that Dorcy has more problems than even Cal he is again on the road... a pattern that becomes obvious throughout the film. His final destination would seem to be the subconscious goal of the trip surfacing. It is in Oregon at a cabin in near the ocean that Cal stays with his father (David Keith), a stoic and quiet man who had abandoned the young Cal and his mother himself many years prior. The road of questions may or may not be answered through this travel, and the pace would suggest that it does take its time, but the beauty of the scenery throughout coupled with the simplicity of a script that tells only what is necessary and leaves the rest up to the camera is well worth the time spent in the theater. Put your thinking cap on and join the quest for answers in a man's life. If you can't travel today... this film will put you on a journey... however darkened by some of life's painful and denied realities. (B)
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ENIGMA

Release: 04/19/02-(R)-(1:57)-[MANHATTAN PICTURES INTERNATIONAL/JAGGED FILMS/BROADWAY VIDEO PRODUCTION]- DOUGRAY SCOTT, KATE WINSLET, JEREMY NORTHAM, and SAFFRON BURROWS: I love Kate Winslet. There isn't a performance that she cannot ace. There isn't a role that she doesn't wisely choose. She is the sort of actress (at only 26) that would seem destined to be a Dame and an Academy Award winner. That being said I should also say that she, along with some other very strong performances, make for an interesting, moody, and scenic blend of love, loss and wartime outside of London in 1945 & 46. Keeping in mind that one must be very careful NOT to close your eyes or turn your attention for a mere moment in pretty much ANY part of "Enigma", this is not a plot that has been done before in the grand cookie-cutter style. It is an original, albeit a bit tough to crack (pardon the pun as this is a film primarily about code-crackers.) The film, wonderfully directed by Michael Apted and produced by the new Production team of Mick Jagger and Lorne Michaels, is stunningly accurate in details of the period. The lush countryside and even the brief Trafalgar Square scenes are dressed to the nines and could very easily be the days in focus. But the story isn't only about the intricacies of the codes and the machines that work to decipher them... it is also a tale of a beautiful blonde and the man that falls in love with her at Bletchly Park. The site, used as a top-secret code cracking headquarter during World War II is where genius mathematician Tom Jericho is sent and happens to meet the lovely Claire (Saffron Burrows) with her roommate Hestor (Winslet) one afternoon at a concert. The couple is soon "seeing each other" and when Claire begins to pull away Tom finds himself suffering a breakdown. When he returns to Bletchly one month later to help crack the code that has been changed by the German's Claire is missing. It is the combination of the wartime story and the teaming of Tom with Nestor to uncover the mysteries of the woman's disappearance while discovering an attraction of their own that makes Enigma a full-throttled film with warmth and realism. Dougray Scott is a wonderfully convincing lead as the sullen and tortured genius worn out almost completely by this intense feeling that broke him down. The actor nails the rebuilding process and clicks genuinely with Winslet as the plain file clerk sprouting into a beauty before our eyes. Another performance of note is the Cary Grantish Jeremy Northam as Wigram, sent to investigate the mathematician and on the search for Claire... his scenes with Tom Jericho add comic timing and a genuine feel for the era that could throw Mr. Northam further into the spotlight as a character (or leading) actor. And I dare say that it could net our Ms. Winslet yet another nomination come early next year... This is a beautiful film that I expect will be remembered as the year progresses. (A+)
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MURDER BY NUMBERS

Release: 04/19/02-(R)-(1:59)-[CASTLE ROCK ENTERTAINMENT/ WARNER BROS. PICTURES]- SANDRA BULLOCK, BEN CHAPLIN, RYAN GOSLING, MICHAEL PITT, AGNES BRUCKNER, and CHRIS PENN: There are layers happening in the current Sandra Bullock lead feature film. On one hand it is the story of a crusty and cynical detective... known affectionately as "The Hyena" a woman who sleeps with all her partners and then immediately throw them away. And on the other side of the coin is the story of two typical and bored teenagers with too much time on their hands and the willingness to try and trick the system. In the case of Cassie Mayweather (Bullock) there is the back-story of a high school romance that turned into a young marriage and then an abusive situation leading to her near fatal attack. This, over time, has sent her deep into a shell trying to forget or deny that this part of her life ever existed. So she became a cop. Her most recently appointed partner Sam (Chaplin), whom she calls 'Vice' because of his last assignment, is subjected to her bouts of control, stoicism and underlying anger. He, however, unlike the others before him, sees more about Cassie than meets the eye. Over at the High School for the Northern California seashore town of San Benito there is the unlikely 'relationship' between the well-to-do Richard Hayworth (an amazingly effective Ryan Gosling) and the somewhat geeky genius Justin Pendleton (Michael Pitt) who secretly plot to kill randomly and plan it in a manner by which they will cleverly fool everyone... especially the police... and get away with it. Call it a challenge, call it extra curricular activity... the two students cling to each other with a sense of homoeroticism and mistrust as the pieces of this puzzle are unfolded and the story reveals the crime. There could be the tendency to expect that at any moment a different and unknown killer will be revealed, but the truth is that this is a clear-cut crime from the get go. The nature of the film is not as much the who-dunnit but the cat and mouse aspects that are revealed between the boys, who clearly do not expect that anything will come of this, and the overly bitter detective who sees a bit of the young husband who left her for dead in Richard. It is because of those hunches that little by little the case changes its course and the new partnership of Mayweather and Kennedy is further solidified. "Murder by Numbers" is an interesting film about interesting people. It is somewhat implausible in its parts but believable as a concept. The film is also superbly drawn by the actors and the characters are people we have, at some point, all known... whether it is at our own high school or several of the hard driven detective murder movies of the past. Sandra Bullock is one of those actresses you either love or hate... fortunately for me I find her intriguing and attractive. She grasps the drama of the piece with finesse and takes to it just as easily as she has with her comedies of the past. A worthy visit to the theater. (B)
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RESIDENT EVIL

Release: 03/15/02-(R)-(1:40)-[SCREEN GEMS/SONY PICTURES RELEASING]- MILLA JOVOVICH, MICHELLE RODRIGUEZ, ERIC MABIUS, MARTIN CREWES, JAMES PUREFOY, COLIN SALMON: Although I am not big on computer games and most definitely not their incarnations into feature film, I would have to say that "Resident Evil" being what it is, is a guilty pleasure indeed. For most of the film you would think that there were a way to tune in and kick butt or kill off some of the 'foe' through the computer generated special effects that highlight the character or particular area of the film. It adds to the effect. Don't get me wrong... this is a shlocky "Night of the Living Dead" meets 2002 and technology rip-off... but it is supposed to be just that. With that in mind I give you Mila Jovovich in a role that should give her even more clout as a kick-ass action lead than her stint in 'The Fifth Element' several years ago. The plot is simplistic in its technobabble and sci-fi explanation. Huge corporations are greedy and there would seem to be no stopping them (is there any coincidence that this would be released around the time of the fall of Enron and the liquidations of Andersen?) This particular company Umbrella is evil at heart while creating a virus for nefarious reasons. The company is run in secret and half a mile underground by a computer generated 'red queen' (a character never seen but heard in the voice and hologram of a little British girl.) Once the researched virus is leaked within the confines of the labs the red queen kills all in the labs and traps all that are left in a nightmare of undeads who are hungry. The film, throughout its 1-1/2+ hours is a maze of dead ends and shock value moments that seem to eliminate just about everyone from the roster of those who actually didn't get killed in the first place. But Alice (Jovovich) is tough... with her assuming the role of the leader with a kick there would seem to be no doubt that she will make it all the way to the end. Not everyone else is so lucky considering this is derived from a computer game. Also notable in the cast is Michelle Rodriguez (Girl Fight, The Fast and the Furious) who is wracking up those tough chick from the streets roles quicker than Britney is releasing singles. Resident Evil is a bit graphic in its depiction of death... but that shouldn't come as a surprise to anyone who plays a video game. Keep that in mind and you might have a good time. If that doesn't work there is also the scene of Jovovich kickboxing a pack of undead Doberman’s covered with goo. (C)
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NEW BEST FRIEND

Release: 04/12/02-(R)-(1:30)-[TRISTAR PICTURES]- MIA KIRSHNER, MERIDITH MONROE, DOMINIQUE SWAIN, RACHEL TRUE, SCOTT BAIRSTOW, TAYE DIGGS: "Heather, meet Heather." "New Best Friend" is this year's (dare I say) first stab at a look at the in-crowd and the outsider, murder, privilege and drugs on our college campuses. This time around it centers on a three in-crowders all living in the same abode. In stereotypical fashion we have Hadley (Dawson's Creek's Meridith Monroe) the poor little rich girl who's daddy won't give her the job at the multi-million dollar company without her earning it. There is Sidney, the free and easy, always smiling Sidney, the smart and sexy lesbian of the trio. And then there is Julianne, the stunning temptress... who also happens to be bulimic. The story revolves around a class project putting the have-nots into the world of the haves and seeing what occurs. In class and thus in life the professor teams Hadley with a financial aid nobody named Alicia. Alicia is a powerhouse in the intelligence department (naturally) and as a result is the one that all would assume will be played and taken advantage of during the length of this oft down tale about greed and obsessive behavior. The kid is thrown into the candy store here. Alicia is introduced to a world of men and drugs the likes of which she would never have had the opportunity to be a part of with her mousy friend in financial aid land. The trio of 'heathers' does the obligatory makeover and before long there is a transformation that takes Alicia from dud to dream and the light bulb is practically seen over her head. Soon it is obvious that Alicia, not Hadley, is the one with the agenda AND will utilize underhanded methods in any way she can to achieve the goals she deems necessary to pull herself out of the mundane and low rent life she has been living in for all these years. One thing leads to another, however, and soon the young up-and-comer is in a coma from a drug overdose and the town 'interim' sheriff (Taye Diggs) is on the case. The film is cut in a random editing from future to present style of storytelling and editing that almost makes a viewer wonder just where we might be and why... it isn't TOO confusing... just a bit tired and been done before. All cast members are amiable but the whole of the project relies on this tale of young adult over-access that is something I just don't see as being remotely original or all that interesting. "New Best Friend" is one of those films best left to the VCR or DVD machines at home. I myself waited for the cassette to be handed to me. For that I must admit I am grateful. (C)
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HUMAN NATURE

Release: 04/12/02-(R)-(1:36)-[FINE LINE PICTURES/STUDIO CANAL/GOOD MACHINE PRODUCTION]- TIM ROBBINS, PATRICIA ARQUETTE, RHYS IFANS, MIRANDA OTTO, ROSIE PEREZ, ROBERT FORSTER, MARY KAY PLACE: "Human Nature" is touted to be from 'the makers of "Being John Malkovich". Unfortunately when a film is marketed prominently in such a manner it can be a sign that the film you are being coerced into seeing isn't good enough to stand up by its own merit. Instead we are asked that we recall a film that worked and won critical acclaim and, as the chances are better that we enjoyed that theater outing, we may find ourselves checking out this one. I did and unfortunately found a second rate and far less superior outing in "Human Nature". It would seem that the clever writer of "Malkovich" won some kudos and began to pull out some of his older scripts that wouldn't sell. That being said I should mention that this is not the worse film I've seen in a long time by any standard... it just seems to be trying too hard with material pulled from other films. It isn't very original and doesn't have any very appealing pieces that would make up for that lack. "Human Nature" is the story of Lila Jute, a young girl with a rare condition that causes the growth of hair all over her body. It is the path of her sorrow and acceptance of said condition and the travels to the wild to live with nature. Finally at one point of her life she comes to friend and skin doctor (Perez) who not only begins to perform the necessary electrolysis for a hairless life, but introduces her to Scientist and Psychologist Nathan Bronfman (Robbins), a 35-year-old virgin and geek of the highest form. Nathan, who's younger years are flashed back in some of the better of the film's sequences, is stuck on the world without rules and is, as a result, teaching manners to mice in experiments. One day the new couple of Lila and Nathan is in the wilds and come across a man raised by a man who thought he was an ape. NO, that is not a misprint. Along with his interestingly misplaced French assistant (Otto), Nathan conducts experiments that will teach this grown man prone to grunts and obsessive masturbation to be civilized and educated. In the meantime, however, Nathan is also falling for the French assistant and all heck breaks lose in the lives of everyone involved. It is a silly travesty of a film based on the far-fetched themes and gags that were done with much more finesse in "Malkovich". It isn't as though I didn't like "Human Nature"... it's more like that in all its attempted silliness, it just seemed so utterly ordinary and strained. To REALLY be funny or quirky I suspect that a film or script should not have to try quite this hard. (C)
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THE CAT'S MEOW

Release: 04/12/02-(PG-13)-(1:52)-[LION'S GATE FILMS]- KIRSTEN DUNST, EDWARD HERRMANN, EDDIE IZZARD, CARY ELWES, JOANNA LUMLEY, JENNIFER TILLY: To me there is always something to like about a film that takes a look at a mystery based on a true event. In "The Cat's Meow" there is a murder at crux of the story that actually happened... although there is no way of knowing at this point what REALLY happened that night on the yacht of William Randolph Hearst except to say that Thomas Ince was shot and died only two days afterwards. According to other sources, however, it is said that Ince didn't die from a gunshot wound, but from indigestion and ulcers...thus making the story more a Hollywood fable than anything else. Another way of looking at this film would be to call it an American Gosford Park. The film is set in a similar time period, and deals with the rich and upper crust, in this case of the Americas... and more specifically Hollywood. It is late 1924 and the super-rich Hearst (Hermann) is hosting a weekend party on his rather large yacht for the birthday of millionaire director Thomas Ince (Elwes). Guests included the director, a partner, and his mistress, Charlie Chaplin (Izzard), Marion Davies (Dunst), Novelist Elinor Glyn (Lumley), and a few other assorted and colorful characters. The party, magnificently set in those roaring 20's is a mixture of the fun of the day, the desperation of those on board and the anger and jealousy of the host who is convinced that his mistress, Davies, is carrying on with Chaplin. Between glasses of champagne (only one allowed during prohibition), and Charleston’s (the dance is announced and everyone is to jump up and go for it) there is a dark brooding turmoil brewing. Chaplin, who chases the beautiful young movie star Davies with aplomb, is not at all affected by the fact that there is an increasingly jealous host not trying very hard to make his riches and power clear. It is on the evening of Ince's birthday celebration that Ince himself supposedly brought the affair between Chaplin and Davies to the attention of Hearst. A short time later Hearst angrily tore through the rooms of Chaplin and Davies and then retrieved his gun to find the couple. At this point, however, it would seem that Ince himself had decided to take some of the situation into his own hands by talking to Davies about Hearst. Ince, you see, was angling to talk Hearst into a partnership with a new film studio that would assist in the revival of his own sinking career. As rumor has it, and the movie portrays Ince had taken Chaplin's hat and was mistaken by the enraged Hearst for Chaplin. As a result he was shot in the head. Louella Parsons, played here accurately by Jennifer Tilly, was there to witness the event and thus, according to rumor, secured herself a lifetime contract with Hearst papers. Whether or not these events are the truth or part of the pretty myth is actually irrelevant. Bogdonovich has a firm grasp on a period and the characterizations and portrayals of the people that make it what it is supposed to be. It is a clever script and a worthwhile story to be told. I was most impressed with Dunst as Davies... a young beauty that fit the mold of the rising star of the time. Izzard, too, was well cast and played the character to the hilt. "The Cat's Meow" is an enjoyable escape to a time far past. (B)
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FRAILTY

Release: 04/12/02-(R)-(1:40)-[LIONS GATE FILMS]- MATTHEW MCCONAUGHEY, BILL PAXTON, POWERS BOOTHE, MATTHEW O'LEARY, JEREMY SUMPTER: Upon leaving the theater today I happened to overhear one of the ushers ask another patron what they thought of the film. The answer: "It's this year's Memento". I thought about the comparison for a moment and decided that the comparison HAD to be based on originality and the feel of a interpretive independent film. "Frailty" is those things mixed with a bizarre, creepy and downright terrifying underlined theme that mixes religion and the sorely missed Hitchcockian twist all into a cohesive and uncomfortable package. If it weren't uncomfortable, however, it wouldn't have played as well as it did. Frailty is set in the present time with flashbacks as told by a key character, Fenton Melks (McConaughey). Fenton has come all these years later to FBI agent Wesley Doyle (Boothe) to tell him that he knows the "God's hands" killer that Doyle has been tracking for so many years. Bodies, it seems, have not been found, but notes that describe the killings have been found. Melks begins to reveal a story of the original of the murders and tells the agent he knows where the bodies are buried. As they drive towards the rose garden sanctuary that Fenton grew up behind the extended flashbacks, aided by the eerie voice-over by McConaughey, weave the tale of a the origins of these murders as well as the beyond bizarre upbringing of Fenton as a boy (Matthew O'leary), his brother Adam (Jeremy Sumpter), and their father (Bill Paxton, the films writer and director.) What would seem like a very normal family life in this small town suddenly takes a turn one night when Dad wakes the boys up and informs them he has been visited with a vision. It is up to them now, as the world is going to end, to eliminate demons as instructed. Not people (for dad would NEVER kill people, just demons.) The horror of the flashbacks is not only the hideous manner by which Dad undertakes these killings, but the fact that he is including his two young sons in the process. Each demon (or 'sinner') is kidnapped and brought back to the Melk's home to be killed and buried in the Rose Garden. One of the son's Adam claims to see the sins of the demon when his father touches the foreheads of those he has been instructed to kill... but the other son, Fenton, is a non-believer and a problem to the religiously instructed father. The conflicts of father and son play importantly into the twists that the story provides. There is more, however, and each level is creepier than the last. The film is, it would seem, a statement on anything from the criminally insane to the religious fanatics of the world... and yet, it also suggests more... Frailty is wonderfully written and could very well be the first considered screenplay in next year's Oscar race... It is a worthy, dark, and disturbing work made more interesting with its choices of light and dark images throughout. Ladies and Gentlemen this is the best film I have seen thus far in 2002... it is no Disney film... it may not even be for those who don't enjoy a good suspense thriller. But it is, most definitely an incredible film. (A+)
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CHANGING LANES

Release: 04/12/02-(R)-(1:39)-[PARAMOUNT PICTURES/SCOTT RUDIN PRODUCTIONS]- BEN AFFLECK, SAMUEL L. JACKSON, TONI COLLETTE, SIDNEY POLLACK, AMANDA PEET, WILLIAM HURT: There is a driving intensity involved with "Changing Lanes" that I found to be enjoyable and not in the least bit boring. That is a very good start for a film that could very well have fallen into that all familiar big studio pattern. For the most part it did nothing of the sort, although there are elements of grandiosity and unrealistic tendency that make you wonder how much more dangerous this world could and would actually be if some of these things could happen with the ease and swiftness that big budget films portray. So I suspend belief to a certain extent and rely on the talent and believability of the actors involved and the story that is being told. Fortunately in this particular outing ALL are delivering the goods. Remember the film "Falling Down" with Michael Douglas? It detailed one man against the world on a particularly bad day when absolutely NOTHING went right for him? "Changing Lanes" is pretty much a modern day version of this story, a bit souped up and modernized and times two. Ben Affleck, who has developed into a charming and talented leading man, is Gavin Banek, a junior partner at a Wall Street Law firm married to the daughter of the senior partner (a deliciously malicious Sidney Pollack) and on the fast rise to a high powered career and a whole LOT of money. Doyle Gibson (Samuel L. Jackson), on the other hand, is a man on the edge. He's a recovering alcoholic trying desperately to straighten out his life, which he is proving by finalizing a loan for a house that will keep his ex-wife (an AMAZINGLY powerful Kim Staunton) and two sons from moving to Portland. At the center of the story is an accident the two men have in their cars on the FDR turnpike and how each carries on with life from that moment on. Gavin, who is late for an important court proceeding that will net his firm untold millions merely by presenting signed papers from a deceased man is so anxious to get on his way that he leaves his phone number, failing to exchange insurance information and virtually leaving the scene of an accident. Doyle, also on his way to represent himself in the custody hearing that would decide whether or not his wife and children will leave, is left stranded and told "Better luck next time". Essentially the film deals with the irrational behaviors, reactions, fears, dilemmas, predicaments, and various life problems that each of these men deal with as each decision and move they make further affect the outcome of the days events. When one acts the other reacts, when the reaction occurs, retaliation follows and so on. The film is a study of the human condition from levels of healing and attempting to change to the amounts of anger stored and ready to blow at any moment. It seems to pose the question of how far these men can be pushed and just how normal people would react to extreme situations. The film is interesting on all levels and adept in its mood and storytelling. There IS a point behind it and unfortunately a very neatly wrapped ending as well. Would this sort of escalated, violent tendency of men in the modern city to actually have occurred I am willing to bet this would not have been the ending of the story. NOT that the ending was one that made me cringe... it just reminded me that I was watching a film with a big budget. That aside, I DO suggest "Changing Lanes" for its pace, performances, and a sharply written script. (B)
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LUCKY BREAK

Release: 04/05/02-(PG-13)-(1:44)-[CHANNEL 4 FILMS/MIRAMAX]- JAMES NESBITT, BILL NIGHY, CHRISTOPHER PLUMMER, OLIVIA WILLIAMS, TIMOTHY SPALL: Lucky Break is the follow-up to the wildly popular directorial hit The Full Monty by Peter Cattaneo. Unfortunately Lucky Break doesn't have the massive appeal of its predecessor... nor the humor that it takes to pull something of this nature off. Released in Britain in August, Lucky Break will make its way to the states in the near future, but I wouldn't expect that it would get the exposure that the director's former claim to fame received. The story is about a common career thief that has bungled the last robbery attempt that he made with a long-term friend and landed himself a nice long prison term. While incarcerated the two come together and plan the perfect means to escape the prison. What they are going to do is work their way out by creating a large enough diversion to make the rest of the plan work smoothly. The diversion will be a musical to be performed by the inmates. The characters are colorful enough, including a musical loving prison warden (Plummer) and inmate Roger (Bill Nighy). In the lead role of Jimmy is British television star James Nesbitt, who isn't the charismatic pull that the movie might have been better off with. It is with Jimmy that the main situation occurs. As the planning of this escape is underway it is Jimmy that finds himself falling in love with a Counselor (Olivia Williams) who seems to be feeling the same way for him. There are good amounts of clever and fun moments during the rehearsals and staging of the show the inmates put on, but for the most part Lucky Break is rather run of the mill. There isn't anything that stands out and makes you even feel the need to suggest the film to others... the way I know I felt when I first saw the wonderful Full Monty. The characters, too, are not as memorable and endearing, a major pull towards whether or not you even want to see some of these guys get away OR Jimmy get the girl. I don't see a great deal of box office success for Lucky Break. It wasn't getting the attention in London that I would have thought it would and if it isn't making it in its homeland I would hardly expect it to do that much better here. (C)
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CRUSH

Release: 04/05/02-(R)-(1:50)-[FILMFOUR/SENATOR FILMS]- ANDIE MCDOWELL, IMELDA STAUNTON, ANNA CHANCELLOR, KENNY DOUGHTY, BILL PATTERSON: In all honesty I went to see CRUSH because it was set in an English village and highlighted an American woman in a job that allowed her to reside. Ideally this is what I want for my own life and as such I thought it would make for some fun, harmless fantasy fodder. Although I found Andie McDowell captivating and still quite the stunning beauty, I found the film to be arduous and bitter once it passed a fun and amiable first stretch. First and foremost this is a film about growing older (notice I didn't say OLD). It revolves around three friends who take to commiserating on the weekends about the lack of love and sex in their lives by telling stories and awarding caramel bars. This is cute and harmless, especially considering that two of the three women are British and the homes they are all commiserating in are in this stunning, picturesque village that takes your breath away. Kate (McDowell) is the Headmistress to a school there in the village, Janine is a police officer, divorced and with a teenaged son, and Molly is a smart-alecked gynecologist who has been married and divorced three times. When Kate, who seems to be floating through life rather aimlessly, goes to a funeral one morning she finds herself staring face-to-face with a lovely young man (the organist) who remembers her long before she does him. She had last seen him as a 14-year-old student. Kate and Jed are almost immediately out in the bushes shagging and off Kate goes to the commiseration party with a glow. Soon, however, there is something more to this 'relationship' than a quick on in all the nooks and crannies of our little village. There is a bonafide connection and seemingly the man that Kate has been waiting for. They decide to marry, but the truth is that Kate is more concerned about what those in the village will say than she is about what is in her heart. Her friends are bitter and jealous and will, it seems, stop at nothing before taking it upon them to make sure this 25-year-old heathen is gone for good out of their friend's life. It is a story about love that turns into a maudlin and excruciatingly long British Lifetime for Women serial about friendship, death, choices and bonding whether naturally or unnaturally. It is a film that I found myself wondering if it would ever end. Once a pivotal character was no longer there to invest in I found everyone else to be stoic and redundant. CRUSH fails as a whole because they took a perfectly good premise and some very adept character actors and turned their work into an attempt at weepy serial and lessons about what is important in life. If you go there is a good chance you will enjoy the beginning and up towards the center of the film. Who knows... the Lifetime distraught women solving life's problems themes of the rest of the film might be your thing, thus giving you the full experience. For me CRUSH, was a disappointment... but I did get to enjoy the British scenery. (C)
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DEATH TO SMOOCHY

Release: 03/29/02-(R)-(1:50)-[WARNER BROS./FILMFOUR/SENATOR ENTERTAINMENT]- ROBIN WILLIAMS, EDWARD NORTON, CATHERINE KEENER, DANNY DEVITO, JON STEWART, PAM FERRIS, HARVEY FIERSTEIN, VINCENT SCHIAVELLI: It is so UTTERLY important to remember that a movie is only as good as our expectations for it. That being said it is also important to remember that the film you would see here is one that is supposed to be as overdone, overwrought, and over-the-top as the live Saturday morning kiddy shows it is sending up. Each and every clichéd, exaggerated line, every overly made-up face, each breathy and idiotic reaction to every highly moronic movement is the way this film was envisioned. Part of me understands that sort of dark send-up... and that is the part that really enjoyed the keystone cops simplicity with a 2002 script and vocabulary. So when ANY director or writer with a script as loopy as this one is looking for an actor to take his or her character to extremes that are hysterical but border annoying... whom else but Robin Williams would be the natural choice? Williams is Randolph Rainbow an insanely popular daytime kiddy host with a show that has apparently taken him to heights of greed and mental instability. The film opens with a whirlwind musical number on his show cut to a world filled with products to sell. The next thing we know the dissension has begun as a sting in a local bar nails Randolph for taking bribes to get the kiddies on the show front and center. Enter the angry and worried executives at KidNet (Stewart, Keener) who must find a replacement for the time period that is clean and has no skeletons in his closet. Enter Sheldon Mopes and his character Smoochy (Norton) who Nora (Keener) tracks down performing at an old clinic for heroin addicts. Suddenly Smoochy is a sensation and everyone wants a piece of him ... including his own agent Burke Bennett (DeVito) and the ringleader of the Child's Charities groups (yes... corruption even in charity). What is most comical about the film, however, is the intensity in which former Saturday morning host Randolph is adamant upon getting back at the unaware Smoochy. Comedy and slapstick ensues in fine formed hilarity and costumes that remind one of the exaggerated lunacies of the old HR Pufnstuff shows of the 70's. This is one silly film, but that, as it appears, is entirely the point. There are some fine comic performances by Williams, Norton, and Keener and a great many cleverly written and delivered lines by the cast. Smoochy might be an acquired taste.. but it isn't necessarily a bad one. It is, once again, important to remember what the point of the production is... (B)
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DRIFT

Release: 03/29/02-(UNRATED)-(1:26)-[MARGIN FILMS PRESENTATION]- R.T. LEE, GREYSON DAYNE, JONATHON ROESSLER, DESI DEL VALLE, SEBASTIEN GUY: Although sometimes a bit hokey and contrived in its themed subject matter and theory, "Drift" has a distinct quality that shines through all that with a conscious level of choices and scenarios that essentially create three different movies in this one picture package. Built on a similar theme to the tremendous German hit "Run Lola Run" where the story provides three alternate endings that paint far crying differences from one another, "Drift" primarily follows the confused and disoriented Ryan on his paths for the search of the meaning of life and relationship in his world. I actually found myself identifying with a good deal of the thought process that several of the characters were experiencing in "Drift", primarily the questions raised by the lead in wonderment regarding the pain that life often caused when in or around the concept of relationship. Where do we fit? Why do we feel as we do? Ryan (Lee) is in a steady live-in lover relationship with Joel (Dayne) as the film opens. They are at a hauty party for those in the 'business' when they meet young Leo (Roessler). Almost immediately there is a spark that ignites for Ryan and his questions about the direction of the relatioship with Joel are intensified. Add to the mix the wonderfully played best friends (both of which are some of the nicest drawn supporting characters I have seen in any film in some time.) Matt (Guy) is the straight guy who obviously has a wonderful self-identity and Carrie (del Valle) is the friend from college who seems to understand every nuance of Ryan's personal pains and twitches from personal experience. When it comes to the morning when Ryan wakes up next to Joel and has decided that the relationship is over and he must leave we break into three different scenarios that could occur. All of them are feasible and all of them are as real as real can be. In one Ryan has a fling with the 'virgin' Leo who is in a dream state with a new relationship with the former. It is Ryan, however, that decides that he is still in love with Joel, who has had a little fling of his own. In this scenario the lovers decide they belong together and can learn from what has been learned. In another scenario Ryan has his fling with Leo and realizes he is still in love with Joel but it is too late. In yet another Ryan discovers that his 'feelings' for Leo are unrequited and that Leo actually would prefer to be with Joel. All of the possibilities are just that, nothing seems pushed or forced and everything is wonderfully performed in its own message that seems to portray that life is only worth something if you are with someone in a meaningful relationship. I suppose that is the reason I ended up giving the film a "B" is as simple as the glaring omission of seeing Ryan even consider the possibility of having the relationship with himself first. There is a glimmer of hope that this may be the case as the film is completing... but for the most part, based on the character we have come to know, he will be back in the business of finding his 'other half' quickly and with vehemence. 'Drift' is a decent film with a well-done premise. Too bad it won't get past any art houses and will not see the light of day in a lot of this repressed country... (B)
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PANIC ROOM

Release: 03/29/02-(R)-(1:58)-[COLUMBIA PICTURES]- JODIE FOSTER, FORREST WHITAKER, JARED LETO, DWIGHT YOAKAM, KRISTIN STEWART: "Panic Room" may not be the scariest of films that I have ever seen, but it is certainly a good ride. David Fincher who brought us one of my favorites of 2000 ("Fight Club") is a director with an innovative film technique. From the magnificent opening credits looming over panoramic views of New York City in grand Hitchcockian stylism and throughout the film's length (primarily in the one large set of a NYC townhouse) the camerawork takes on the role of a character in and of itself. Racing through walls, up pipes and wires, through floorboards and steel in every direction imaginable the film takes us on roller coaster views that segue one scene brilliantly to the next offering the thrill of connection to wherever it is we are going. The story is the ultimate pitting of good against evil and good within evil as three home invasion robbers enter said townhouse recently purchased by Meg Altman (Foster) a recently divorced woman who is there in the new home for her first night with her daughter Sarah. Now... if you've ever been to New York you will know within moments that Meg is not hurting in the financial department as this 'townhouse' is a dream in size and proximity any way you look at it. When the film opens two realtors are giving the grand tour and there seems no question as to whether this is going to be affordable enough. (Heavy sigh..) Meg is a bit bitter about the divorce and the fact that ex-husband Steven is now in bed with another woman but has accepted this new chapter in a home that holds this industrial 'panic room' in connection to the master bedroom. Inside this room are monitors that view the entire home, a PA system and a phone with a separate outside line. Having just connected the monitors before bed Meg is sleepless and wanders in to notice the three intruders in her home. The terror begins as she dashes through the hallways to grab her young daughter and dash back to make it into this panic room just in time to avoid the crooks on their way up the stairs. The crooks, it would seem are after a good deal of money that is stashed in a safe inside the panic room. They include the grandson of the man who previously owned the home and thus the money (Leto), a gentle robber who works for the company that installed the panic room and is there because of arrears in his child custody payments (Whittaker), and a thug brought a long by Junior named Raoul (Yoakam). The whole of the movie is the struggles of the thieves to get in to the panic room, the anguish and attempts at escape for the two women within the shelter and the dissention that persists and drives the wedge between the men on the outside. It is hard to determine what this film is a proponent for after having viewed its dangerous and violent nature. Does it want to tell us of the virtues of owning such a safety net in the home or is it telling us how dangerous the proposition can be? Whatever the message may be the film itself is a quick paced and somewhat chillingly detailed tale of desperation and survival inside a single apartment in New York City. Jodie is terrific as the mother and all three of the robbers are choice in their roles. I suggest this film for the elements of surprise and old fashioned thrilling feel of the film. Most of all, however, I would like to commend Mr. Fincher on another intriguing and tremendous ride in the movie theater. (A)
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ICE AGE

Release: 03/15/02-(PG)-(1:21)-[20TH CENTURY FOX / BLUE SKY STUDIOS]- VOICES OF: RAY ROMANO, JOHN LEIGUIZAMO, DENNIS LEARY, GORAN VISNJIC, JACK BLACK: The quality of the animated feature film is better and better with each passing year. Ice Age is a resounding proof of this. To look at the world of animation today and recall the work being done 10 years ago... and 20, only makes me wonder what is coming in the next decade. There really is a great deal to look at with this work. The expressions of the characters are uncanny. Movements are dimensional and lifelike to the point of wondering if some portions might not be painted frames from live action feature films. But where then would the filmmakers have found a mastodon? Ice Age is also comical and sweet. It is one of those clever children's movies with all the inside jokes that will make the hopeful repeated viewings tolerable for the mommies and daddies in the perspective audiences. The problem is that the film follows every children's film formula that has been used in the past. The characters are time tested and well worn. NOT that this is necessarily a bad thing for a children's film. In fact to look at it another way one might admit that this sort of critique is rather irrelevant to the film itself. What film, after all, doesn't take the tried and true formula from proven success stories and put new 'faces' into the mix? Certainly not a big studio with a big budget. The truth is that I enjoyed the bulk of Ice Age. It is comical and entertaining. It is voiced effectively and the story, as suggested is one about family and struggling and triumphing over adversity. Manfred the Mastodon (Romano) is a big hairy beast going North instead of South for the migration while all the soon to be extinct creatures move en masse away from the ice. Along the way Manfred gets a sidekick in Sid the Sloth, the goofy, weaker and seemingly friendless character (Leiguizamo). The two discover a baby that they decide they must take back to the tribe (also on the move). The gang of saber-toothed tigers, however, have another plan for the baby. They want the child as revenge against the humans that killed many of the tigers for food or coats. Manfred of course is not up for this trek but is talked into it by Sid. They are joined by Diego the tiger (Leary) who has been sent to get the child. Manfred has Diego lead the way, not knowing that the tiger is leading them towards an ambush by the tigers. As they travel they discover their bond to each other through the trials and tribulations of a trek at the end of the Ice age. The film is cute. The voices are good. The squirrel is fun. I don't have kids so I rather doubt I will be seeing it again. (B)
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KISSING JESSICA STEIN

Release: 03/15/02-(R)-(1:36)-[FOX SEARCHLIGHT PICTURES]- JENNIFER WESTFELDT, HEATHER JUERGENSEN, TOVAH FELDSHUH, SCOTT COHEN, JACKIE HOFFMAN: I can't honestly say that I would have thought I would be sitting here writing a splendid review for a movie about a lesbian relationship. That isn't to say that there is anything wrong with such a pairing, not at all. What it is to say is that I might not have found myself intrigued with the notion of a romantic comedy that dealt with the topic. It had, I thought, so many things going against it. For one, I am not the biggest fan of the romantic comedy in the first place. For another it deals with a subject matter that I have often found to be trivialized and pigeonholed in American film. I was wrong. Not only is "Kissing Jessica Stein" a touching and very message driven romantic comedy, but it also smacks of realistic characters, portrayals, situations, and possibilities. Not ONLY that but the truth of that matter is that it's two stars (Westfeldt and Juergensen) have written one of the funniest and well-rounded comedies I have seen on the big screen in many a moon. The topic at hand is not necessarily about lesbianism as much as it is about Jessica's (Westfeldt) inability to let people in. They are never good enough for her and she has the personality that tends to find something wrong with whomever she is involved. Be that as it may she is alone and afraid that this is a trend that will follow her throughout the rest of her life. After a string of unsuccessful...nay... disastrous dates, Jessica overhears her workmate read a personal ad that quotes a favorite writer (Roca) and is immediately intrigued. Whoops... that ad was in the Women looking for Women section. Jessica decides to meet the woman who wrote the ad, another 'straight' woman who is looking for an adventure and a means of expanding her own life and lifestyle. Helen, a bit more 'together' and secure with her own sexual being, is the director at an art gallery (Jessica is of course an artist who works as a copy editor.) The film really takes off when these two meet and begin their relationship. Westfeldt is a stitch as the uptight and neurotic professional girl from a Jewish family and partner Juergensen is the perfect foil for her. The writing in "Kissing Jessica Stein" is witty and far from contrived. The settings are realistic and easy to swallow and the peripheral characters, especially Tolvah Feldshuh as Jessica's mother Judy and Jackie Hoffman as her friend Joan are delightful. This is more than a movie about lesbians, it is a movie about people and how to allow oneself to find and accept the right person into our lives. Good job all around. (A)
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SHOWTIME

Release: 03/15/02-(PG-13)-(1:34)-[WARNER BROS. PICTURES / VILLAGE ROADSHOW PICTURES]- ROBERT DENIRO, EDDIE MURPHY, RENE RUSSO, FRANKIE R. FAISON, and WILLIAM SHATNER: Showtime is contrived studio fluff. Every little piece is cleverly (he said sarcastically) put together and neatly displayed to create the scene-by-scene mockery of Hollywood both inside and out. On the other hand there is an excellent cast in Showtime. There can be no better comedian for mugging and shtick than Eddie Murphy. Robert Deniro is perfect in his inimitable deadpan, stick-in-the-mud persona. As a team the two work quite well and there ARE some rather funny moments as the movie moves along in its perfectly predictable and cookie-cutter pace. Showtime is the story of a tough as nails detective who shoots a camera while at the scene of a bust, an actor/cop who thinks he has gotten the break of his life by coming upon this bust, and a dying television production company that comes up with the darling of an idea to take the hard-nosed cop and an ethnic partner to create a new reality program that will save them and make everyone stars. Don't you just love Hollywood? Showtime is born because Murphy's character (Trey) who auditions for his part by staging a crime he can be the hero in, utters the word in front of the overzealous producer who is running the show for the company. Renee Russo is everywhere that they are as Chase Renzi, who it would seem has everything to lose if this show should fail.... oh wait... fail? We're talking about a Hollywood fluff film with big stars OF COURSE it wouldn't fail. It is a mind-boggling success. It hits new heights and makes everyone stars. They have rabid fans screaming at them and producers redecorating their houses while they are on the set. It's so realistic. Ok... it's not supposed to be. Showtime is a state of mind. What are you looking for? Are you looking to be entertained by some (not all) clever lines? Do you enjoy the always-entertaining slapstick persona of Eddie Murphy? Are you the sort that would follow Robert Deniro around to see whatever he's going to do next? Showtime could be your film? Do you value art? Do you want to say that you weren't insulted by the predictability and idiotic nature of the script that is offered? Do you hate it when everything that happens is so easy and laid out? Perhaps it would be best if you went to see another one of the films I reviewed this weekend. Why did I give the film a B? Eddie Murphy. Nuff said. (B)
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Y TU MAMA TAMBIEN

Release: 03/15/02-(NO MPAA RATING)-(1:48)-[IFC FILMS]- MARIBEL VERDU, GAEL GARCIA BERNAL, DIEGO LUNA: Take note: here is a film that takes the subject at hand, a coming of age story about two teenaged friends and deals with it in a no-holds barred, matter-of-fact, and in-your-face manner. 'Y Tu Mama Tambien' is, in essence, everything that every American teen film might have thought it could have achieved but found themselves falling short of for the sake of the almighty box office dollar and more than a couple cheap-shot sex jokes. What is the main difference between the plethora of teen themed pics that have graced the American cinema over the last however many years and this finely toned and evenly paced little job from Mexico? HONESTY. There isn't one scene in this forthright and brazen look at real people in a rural and almost desolate land that reeks of the reality of what it is actually like to be a teenage boy in almost every part of the world. Director Alfonso Cuaron does an incredible job at showcasing two young men who share a bond and a friendship, take an adventure that livens up a boring summer and consequently changes their lives forever. The film is a bit brazen in its exploration of sexuality, and presents nudity in portions, but all in a manner within the context of a story that rings true as opposed to the trumped up sexual experiences of the American counterparts. Tenoch (Luna) who comes from a rather well to do family and his best friend Julio (Bernal of last years extraordinary "Amores Perros") are typical teenage boys in Mexico. They party and have girlfriends. As the film opens each is saying goodbye to the girls sexually as only teenage boys can do. Once gone, the boys are out and attempting the good time that any one of that age would be looking for. The summer is dull and they are left to get high and swim in a local country club a relative of Tenoch's works at. When it is closed it is their private pool and often they utilize it as such. They are close and familiar with each other but very much the arrogant and macho men that their society creates. Enter Luisa, whom the boys meet at a gala wedding. Luisa is in a bad marriage and is immediately a conquest for the two boys. They invite her to an imaginary beach for an adventure and to their surprise days later she accepts after learning her husband has had another extra-marital affair. The bulk of the film is the wonderful chemistry that these three actors have together as they travel through the Mexican landscape towards the beach and live through all the many dramas that can and will be created by sex, love, and jealousy. Each is a character that is so real to their ideal and individuality. All are encompassed in the truth that this age and sort of situation would provide. What culminates is what can be expected, and yet not at all foreseen. This is a film that captivated me in its cinematography, explicit nature and raw feeling of the way characters would REALLY act in situations that I could not only relate to, but have rarely seen portrayed on screen. This is a must see and a glimpse to the future for a fine filmmaker. (A)
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THE BORSTAL BOYS

Release: 03/08/02-(NO RATING)-(1:31)-[STRAND RELEASING]- SHAWN HATOSY, DANNY DYER, LEE INGLEBY, ROBIN LAING, EVA BIRTHISTLE, MICHAEL YORK: There would have been no way for me to know that this film would turn out to be a beautiful and uncontrived LOVE story. Who knew that Brendan Behan, an acclaimed and rather dicey alcoholic poet and author from Ireland would have been able to elicit such a response from me? The Borstal Boys is a recreation of a novel based on Behan's younger years as an IRA sympathizer infiltrating the British shores during World War II. It is a story about a young man and the blooming of feelings that he neither truly understands nor knows what to do with. Sure... it is romanticized by the filmmakers to capitalize on the real feelings involved, but the film is NOT at all designed to pull on our heartstrings and is without a doubt one of the more quaint and likable tales of this nature that I have ever had the pleasure of sitting through on a Sunday morning. Behan (Shawn Hatosy) is a hard-edged and bitter young 'soldier' who is first seen strapping dynamite to his inner thighs to smuggle off a boat. This doesn't get him very far and he is soon convicted to the Borstal.. a sort of prison for boys that are in trouble with the law. In this borstal Behan meets the usual suspects including the bully who takes over the block (Ingleby), the perennial escaper (Laing) and a young gay sailor who does not hide who he is and very obviously has a soft spot for Behan. This relationship is NOT one that Behan takes kindly to in the beginning but it is about this discovery of attraction for both Charlie (Dyer) and the daughter (Birthistle) of the man running the borstal (York) that the film spends a good deal of its time exploring. There is a mix of the hard life tragedy and loss along with the simplicity of the light-hearted and pleasant activity that really gives Borstal Boys a fine blend and even feel throughout. Hatosy, an American, is actually quite convincing if not stunning as the to the death IRA freedom fighter. He is clever and holds his own in the accent department. Also quite convincing are Dyer as the gay sailor and York as Mr. Joyce, the borstal's commander with a heart. This is a simple and wonderfully independent piece of work, created by first time filmmaker Peter Sheridan (brother of Jim who directed "My Left Foot"). It is filled with British scenes and WWII era clothing that create the required feel enormously. An all around enjoyment. (A)
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THE TIME MACHINE

Release: 03/08/02-(PG-13)-(1:36)-[DREAMWORKS PICTURES / WARNER BROS. PICTURES]- GUY PEARCE, SAMANTHA MUMBA, ORLANDO JONES, MARK ADDY, and JEREMY IRONS: I should start by saying that I really like Guy Pearce. This is an actor that I can see going to heights based on the roles he has chosen thus far in his career. It is obvious to me that there is a range in him that covers a lot of bases. Unfortunately, although his role his is not the problem, "Time Machine" is not his best outing to date. It is filled with some very interesting and borderline clever special effects... but the problem really lies in the places the film takes us as an audience... and why. The film opens at the turn of the Twentieth Century with Dr. Alexander Hartdegen, a professor at Columbia as an earlier and non-szichophrenic version of fellow countryman Russell Crowe's John Nash type character, Complete with blackboards filled with equations. This is a man that is so wrapped up in his life's work that he barely has time for anything else. "The only thing he never had to think about" is the woman he loves, one Emma (Sienna Guillory). Unfortunately for the professor the young woman is shot to death only moments after he proposes to her in the park by the skating pond. This, much to the dismay of good friend David Philby (Addy) and housekeeper (Phyllida Law), puts the prof into a funk for over FOUR years... where he stays in his laboratory and completes all the necessary formulas that will make the time machine a reality for him and thus give him the means by which to go back in time and save the woman he loves from the event that took her life. FINALLY he is able to do so and these are the scenes that are really quite spectacular in detail and scope. The travel first takes him back to the moment, as he had desired only to discover that he couldn't change the death, but only the means by which the death occurs. This sends him back into the machine to figure out that age-old question of WHY certain things cannot be changed. He travels to New York in 2030 (creating a montage of hemlines in a store window that span the years) and then to the same spot in 2037 as the moon is breaking up and tumbling to the earth. In his rapid and fiery escape from this place in time the Professor is knocked unconscious only to find himself some 800,000 years in the future. This is where the story goes awry. There is a society of people that live on the sides of trees and live in a fear of underground monsters that come up only to grab the tree dwellers and pull them down into the depths. They are an ugly breed and the story is dark and brooding. It is an opportunity to give us the heroic look at the good doctor and see a villain so utterly and sublimely ridiculous in the Uber-Morlock (Jeremy Irons looking like a creepy albino in white pancake makeup). ALL of these scenes of futuristic travel are rather "Planet of the Apes" or the reverse of "One Million Years B.C." With the exception of Orlando Jones as a holograph with stored knowledge of pretty much everything available it is almost a shame to take the time machine to these extremes. All in all this is a film that I could have gone without seeing. It is a fair remake of the 1960 film and does have worthwhile moments of special effects that will please some. Otherwise... I'd skip it. (C)
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CHOP SUEY

Release: 03/01/02-(UNRATED)-(1:42)-[ZEITGEIST FILMS]- NO SPECIFIC CAST: "Chop Suey" is a delightful memoir through photography. Don't get me wrong, this 'documentary / tribute' styled eclectic taste treat is NOT about someone who has passed (unless you want to count the incomparable Frances Faye) but about the work and art of famed photographer Bruce Weber. This quickly paced and quickly edited romp down memory lane is a boom to the senses that is so often lacking in the most banal of mainline scripted features of today. What we have here is a testament to the power of the camera in its ability to tell stories, record lives, and journal memories about people, places, things, and situations throughout a period of history. In this case it is Mr. Weber's history. In Chop Suey Mr. Weber highlights the ample talents of a young male model, a wrestler discovered in Iowa, as he matures in front of the camera and hobnobs with several other of the key characters from other generations of the photographer's experience. One of the most delightful of the subjects is the artistry and memory of the lesbian lounge singer named Frances Faye. Many times a guest on Ed Sullivan and revered through her nightclub work in Vegas and around the world, Ms. Raye would stand to be one of the more outrageous of the world's talents in that era. A name I admittedly was not familiar with but wanted dearly to run out and buy a CD of, should one be available. Other segments included scenes of interviews with the likes of Robert Mitchum, Diana Vreeland, Jan Michael Vincent (and the groundbreaking nude scene from "Buster & Billie" in 1974), Jujitsu champion Rickson Gracie, Surfer Christian Fletcher and his family and British photographer Sir Wilifred Thesiger (who photographed Bedouin horsemen). The film cuts back and forth from subject to subject in a manner that is not one of sequential time line (beginning to present), but more by subject matter at hand and candid and wonderfully interesting interviews with the previous subjects and those who were around them or related to them in one way or another. Most interesting was the manager and longtime lover of Weber favorite Faye. It is with these scenes of Teri Shepherd that I found the film to be most open, and fascinating and with her contributed film footage of the marvelous cabaret singer that I became utterly mesmerized. With the interwoven fascination and beauty that is held through the young and stunning wrestler (Peter Johnson) the film is a testament of the wonders of the camera and the manner by which Mr. Weber uses his camera to become one with nature and art. This is the sort of a film that takes a subject and dives head on into the world it is describing through truth and history, weaving some of the most classic pieces of film and stills that I have seen in a long time. Directed by Bruce Weber, this is a film that should be seen by one and all as an affirmation of the culture and art that is possible in this world. This is about beauty in all shapes and forms. It is about a man and his passions (At films end Weber is quoted as saying, " We photograph what we can not be".) Let me tell you how much I wanted to be a photographer when this film was completed. That, my friends, is the sign of entertainment in all the right directions. BRAVO. (A)
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WHEN WE WERE SOLDIERS

Release: 03/01/02-(R)-(1:39)-[PARAMOUNT / ICON PICTURES]- MEL GIBSON, MADELEINE STOWE, GREG KINNEAR, SAM ELLIOT, CHRIS KLEIN, KERI RUSSELL, and BARRY PEPPER: War is hell. And in the case of Mel Gibson's "When We Were Soldiers" it is bloody hell. The film which finds itself being yet another tribute to the fighting soldiers of one of the many battles that have been fought in history... is a morbid and caustic look at a Vietnam battle compared by its lead to Custer's last stand. So brutal is the fighting and the carnage from beginning until its end, that one must wonder if this is a tribute to soldiers or a brash and LOUD signal to the world that the very concept of war is not accomplishing anything whatsoever and never really has. Filmed in a mix of styles ranging from the maudlin big studio cheesefest to the documentary styled splattering of blood on the camera during battle scenes, SOLDIERS is about the bravery of men that were sent to this conflict in 1965 and in particular the true story of a man named Lt. Col. Hal Moore (Gibson). Moore, the father of 5 and loving husband seemingly obsessed with a massacre that had happened in the very same territory to the French some 11 years prior, is a fearless, but loving leader to his men, and a kind and gentle, understanding father to his children. One of the problems with this sort of portrayal is the mere insinuation that a man of this caliber could exist without any flaw whatsoever. But it is a movie, so we shall move on. Moore has moved his family to this base that houses all of these men that are training for the battles of the future using helicopters and 'family' styled methods that remind each of them that they are each all that they've got. The wives are a part of this film as well as they gather en masse for the coffee clutches to comfort and guide each other through the process of war and the military in general. For the most part this is a film that DOES capture the sheer horrors of throwing young lives to the wolves in the quest of... gosh... what were they fighting for in Vietnam? One by one they are blown away in various and horrific manner and the wives are delivered telegrams of loss through a yellow taxicab. Are we proud of these men and the battles they fought? It would be unpatriotic to be anything but.... but the movie DOES tend to suggest the questions that lie in our involvement in battles such as this in the first place. It is possible, at least as I see it, that the film could be questioning the very nature of war. There is some underlying and somewhat manipulative religious tendencies evoked through the film, Moore being a devout catholic, but the message is not a religious one. If you are not one to watch another wartime bloodbath culminating in piles of bodies and tattered American Flags waving in the wind... I might suggest something of a lighter fare in the movie houses. As this type of film goes it is a good example (although the sheer genius of the filmmaking in "Black Hawk Down" beats this out in any sort of comparison.) (B)
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QUEEN OF THE DAMNED

Release: 02/22/02-(R)-(1:41)-[WARNER BROS. / VILLAGE ROADSHOW PICTURES]- STUART TOWNSEND, AALIYAH, MARGUERITE MOREAU, VINCENT PEREZ, LENA OLIN: I am not sure... and I could be wrong, but if I were Anne Rice I might not be all that happy with the outcome of "Queen of the Damned". This is a campy version of one of the most revered series of books about the Vampire Lestat (and assorted others) and the movie version could NOT have met her approval. The thing about the film, however, is that I knew it would be the film that it was. With that in mind there were actually some highly entertaining moments to a story that had otherwise been distorted and mangled from the brilliance of its original writings. Oh well. There would seem to be more of a mystique to the untimely and unfortunate death of the young singer and actress Aaliyah who portrays Akasha, or the Queen of the Damned. It is she that is the heart of this film, but the sultry and smoldering on screen presence of Stuart Townsend that made some of the scenes so much fun. The Vampire Lestat has awakened in our modern times to the sound of rock and roll music. He is out and about and finds himself a band that he becomes the lead of and immortalizes. It is with this fame and notoriety, all forbidden in Vampire lore and handbook that bring the main crux of our story together. It is about Lestat mocking the world that he became a part of unwillingly. He is in their face. With this we see the return of Marius, the Vampire that immortalized him centuries earlier. There is no love lost after Marius abandoned the younger Lestat. But this is about waking Akasha and all of the mayhem and morbidity that goes with the glamorization of the vampire lifestyle. There are so many scenes of below par acting and silly overdone and prolonged special effects that this could very well become a B-cult film in the years to come. Witness one of the silliest walks in the history of film (at the very least since the Ministry of Silly Walks on Monty Python) when Akasha moves through a room. It is out loud laughable and something that I am sure the young actress would have regretted in the final picture as well. Is the film played for laughs? All I can do is hope so. It is nothing that would compare to the books or the original feature back in 1994 (Interview with the Vampire). Anne, if they do another one of your books... please be a part of the process. It just didn't work well without you... (C)
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DRAGONFLY

Release: 02/22/02-(PG-13)-(1:45)-[UNIVERSAL PICTURES / SPYGLASS ENTERTAINMENT]- KEVIN COSTNER, SUSANNA THOMPSON, KATHY BATES, JOE MORTON, LINDA HUNT, RON RIFKIN: I am not quite sure if I feel more sorry for myself or Kevin Costner after having viewed this film. There is a hint in the title that I would advise the public to heed: Dragonfly is a DRAG. There is nothing very unusual or stimulating about this contrived production of possibilities concerning life after death and the means by which communication is received or accepted. There are scenes that are painfully slow in bringing about a means by which this mundane tale is unfolded. Costner is drab and numbingly dull as the well respected Emergency hospital doctor whose wife, a combination children's doctor and red-cross angel, is killed in a freak bus accident on one of the mountains of Venezuela. The bus topples down into a river where it is wedged among some rocks. All of its inhabitants, however, are swept down stream and either lost or killed. Although her body is one of those never found it is also plain to see that the woman is dead and Doctor Moody should simply carry on with life. Fair enough. The problem here would seem to be that Costner's Doctor Darrow, a man with many friends, a fabulous house, and all the usual perks of life supplied in a movie such as this one, keeps getting messages from his wife. They come in different symbolic ways, either through the terminal children that Emily used to work with at the hospital or at home with moving paperweights, a wacky bird, or moving clothing in the bedroom. Poor Joe believes he is going nuts and unfortunately in the audience I was. This film brought out bouts of unprovoked and unexpected laughter as the overwrought and over-acting Costner rambles his way through this ordeal without the help of a personality or one single emotion. The films supporting cast is accomplished and you really do want to get in line with them. Kathy Bates is the always available and overly concerned next door neighbor, the sort you can call in the middle of the night without a cross word being said. Linda Hunt is on for a second as a nun with experience in the after life, and near death experience, Joe Morton, who seem always underutilized, as the bad guy hospital administrator strapped with the responsibility of telling Darrow he's cracking up, and Ron Rifkin the doctor and friend who is there for some reason... although I could not really tell you what that is. Add to this mess a somewhat predictable and ineffective "surprise" ending, where the film tries to be another 'Sixth Sense', failing miserably with EVERY sense I possess. I DO feel bad for Mr. Costner because I really did want for him to be able to have a hit after all of the clunkers he's been involved with for the last several years. It might just be time for the poor guy to buy some stock and get into another line of work... DO NOT, (I repeat) DO NOT waste your time and money off of this one. If you are hell-bent on knowing what happens at the end ASK ME... I'll tell you. You will not have missed anything. (D)
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HART'S WAR

Release: 02/15/02-(R)-(2:05)-[METRO-GOLDWYN-MAYER]- BRUCE WILLIS, COLIN FARRELL, TERRENCE HOWARD, COLE HAUSER, MARCEL LURES, LINUS ROACHE, VICELLOUS SHANNON: I will start by saying this is NO "Black Hawk Down". It is a war film, yes... but it is more a story about personalities within a war than it is the war itself. It is also fictionalized and studio created when "Black Hawk Down" was an event driven true story set almost in a real time film process. The wars are different too as Hart takes us to the familiar film storyline of atrocity in Europe during WWII. Don't get me wrong it is a good film. I would call it a cross between a dramatic take on "Hogan's Heroes" and the courtroom theatrics of "A Few Good Men". Hart (Farrell doing a bang up American accent) is a privileged Lt. in our Army who hasn't seen action at the front lines due to his father being a Senator. It is as a result of his volunteering to escort a soldier through some enemy territory that he finds himself caught by the German army and interrogated. After a grueling ordeal the Lt. finds himself on a train full of POW's on its way to a concentration camp. In this camp there is the group of soldiers both enlisted and decorated and the story is about the assimilation of Hart (who is known to have given away key coordinates in his interrogation.) This pits young Hart against the older and wiser Col. William A. McNamara (Willis) a seasoned and somewhat bitter veteran of the war. Conflicts in the film include the racism and dissention in the American camp when a couple of the US air force's Negro fliers were added to the mix. With this comes the main crux of the plot that is unraveled through the idealism of the younger soldier Hart and the stoic and brazen wheeling and dealing done by McNamara with his men as well as the German Colonel running the camp. This is primarily a film done by the numbers. It is predictable in the sense that it is a combination of films and performances that we have seen before. It is also somewhat enjoyable to watch. With a plethora of war films coming at us in the post 9/11 world this one is one of the more pleasant. It marks another fine performance from young Farrell (Tigerland) and a familiar but likeable performance from Willis. (B)
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SCOTLAND, PA

Release: 02/08/02-(R)-(1:42)-[LOT 47]- JAMES LEGROS, MAURA TIERNEY, CHRISTOPHER WALKEN, KEVIN CORRIGAN, ANDY DICK: What if MacBeth were to have taken place in Scotland, Pennsylvania in the 1970's? The answers are all here in this loosely based Shakespeare epic told were it all about the newly burgeoning drive-through fast food business. The story centers on underachiever Joe (Mac) McBeth (LeGros), a hired worker for Duncan's a hamburger joint built by a man known for his donuts. Mac and his wife Pat McBeth (Tierney) are not at all pleased that Mac is not a manager for the joint and the dynasty seems to be continuing by ignoring him and promoting both of Duncan's (James Rebhorn) sons. When Mac's best friend Anthony Banconi, known as Banko (Corrigan) tells Mac that he knows that Duncan's kiss-ass manager McKenna (Josh Pais) is stealing from the place, Mac and Pat see this as their means to find promotion in Duncan's. This does not happen as Mac is only promoted to the role of Asst. Manager. Thus rises the ire of Lady McBeth who is instrumental in the planning and carrying out of a plan to eliminate Duncan, thus leaving the place free for Mac's many ideas of how to run the place. The film opens with the three 'witches'... in this case a group of hippies (Smart, Dick, Levitch) that tell the future to Mac and then proceed to continue appearing in odd places throughout the film. Duncan is soon and all eyes are diverted to another suspect for quite some time while the McBeth's are left the restaurant by Duncan's sons Malcolm (Tom Guiry), a rocker dude, and Donald (Geoff Dunsworth), whose every scene is an innuendo of homosexuality. Enter McDuff (Walken) who is in charge of the case but also has a passion to own and work a restaurant himself. McDuff, however, is a vegetarian. The film is a comical take on the age-old story of the rise and fall of the McBeths. Their business with the drive-through window thrives and brings them untold wealth and popularity. But with that comes the guilt and conscience that they start to feel. Mac's betrayal and eventual murder of Banco is followed by his visions of the friend at a press conference for the restaurant, while a burn on Pat's hand from spillage at the fryer when Duncan originally fell to his death, plagues her (even though the burn is long since gone.) Shakespeare might actually roll around in his grave over this re-telling of his farce of greed and power, but the story is original in its telling. If ANYTHING it makes the audience ever more grateful that the decade of ratty haircuts and Bad Company on the radio is long gone. This is a light and extremely silly cliff note to the classic play... but not a bad way to spend an hour and a half on a Sunday afternoon. (B)
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BIRTHDAY GIRL

Release: 02/01/02-(R)-(1:33)-[MIRAMAX/FILM FOUR]- NICOLE KIDMAN, BEN CHAPLIN, VINCENT CASSEL, MATHIEU KASSOVITZ, KATE EVANS: Picture Nicole Kidman playing a Russian Natasha... dressed like a street walker and looking a little like she hangs out with the Goths. This is not a role that Kidman has been known for and for that reason it is a character that I enjoyed as much as I like the actress herself. "Birthday Girl" is a film that has been sitting on a shelf waiting for the proper time for release. Finding an appropriate time on the heels of a Golden Globe triumph and a hopeful Oscar nomination, audiences might tend to believe that this is a film that was on Ms. Kidman's work schedule after the recent successes of both "Moulin Rouge" and "The Others". The film centers around a mild mannered bank teller named John Buckingham (Chaplin) who has found himself lonely enough to take the plunge and order himself a Russian mail-order bride. What he finds at the airport is the character described earlier. Her name is Nadia and she doesn't speak a word of English. John is not pleased and makes scores of attempts to return the woman to the service to no avail. Soon Nadia has a couple of friends visit from Russia for her birthday. This men, the good-natured Yuri (Kassovitz) and the slightly more acerbic Alexei (Cassel) end up staying long enough to begin to cause a few problems in the straight-laced world of our bank-teller. "Birthday Girl" is a dark and rather unlikely tale of a burgeoning love. The characters would seem to be mis-matched in almost every single detail. They do say that opposites attract but what occurs to bring these opposites together is somewhat as silly as what one might find on a daytime soap. Suspend the reality for a moment and what you find yourself with in the end is a story about two people discovering a bit more about themselves through these unlikely events. Kidman is wonderful as the Russian bride. She is disheveled and rustic in a believably ethnic way. Chaplin is the ideal pathetic button-down with that edge of appeal that would almost make you believe he could win the heart of his polar opposite. What is intriguing about the two Russian men that round out the cast is that they are both French actors. Cassel most recently a star of the French hit "Brotherhood of the Wolf" and Kassovitz "Amelie". I enjoyed "Birthday Girl" despite the far-fetched story that it told... how could I help it when Nicole is involved? (B)
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THE SON'S ROOM

Release: 01/25/02-(R)-(1:23)-[SACHER FILM BAC FILMS/STUDIO CANAL/MIRAMAX]- NANNI MORETTI, LAURA MORANTE, JASMINE TRINCA, GIUSEPPE SANFELICE, SOFIA VIGLIAR: "The Son's Room", the Palme d'or winner at this past year's Cannes Film Festival and a likely contender for the Academy Award for Foreign Film is a lighter look at the complexities of a family dealing with grief over losing one of their own. The film, which was co-written, directed, co-produced and stars Nanni Moretti is soft in its tones and much like the lead that Moretti plays. As the head of a household and a successful psychologist in a small Italian town Giovanni is quiet and understated. He is serene and the type of psychologist that can seemingly take out whatever it is that his many patients are dishing out without flinching. It is this non-chalant lifestyle along with the orderly patterns by which he goes about his everyday living with his family that sets off the very fabric of "The Son's Room". It is the death of his son Andrea in an accident as the film is progressing that disrupts this tone. The beauty of it is in the slight and real performances of Moretti and the remaining family members. Especially notable is the graceful and utterly realistic performance of Laura Morante as Paolo, Giovanni's wife and the mother of Andrea. She spends a good deal of the second part of the film in tears, but all of them are very real and heartfelt. Andrea's sister is also genuine in her grief and the manner by which she feels both abandoned and fear as the remaining child of the two grieving adults. It is in the very existence of the psychologist that we see the core of the film's message of how we have no control over what life is giving us to work with. Nothing states it better as when the doctor himself, who is wracked with the (unwarranted) guilt of the situation that led to the accident that took the boys life AND with the banality of the situations his patients are bringing to him daily, finds himself in need of changing the very core of his own life to meet the changes that the death of his son have brought. It is with his decision and a turning point that arrives somewhere towards the end of the film that a spark of hope for the future and the chance for a turnaround and continuation of their lives as individuals and as a family occurs. When it does it is a slow process but it makes sense and shows, in the end, that there are alternatives to the devastation that this sort of event in a family can cause. This is a film reminiscent of the 1980 Robert Redford film "Ordinary People", perhaps with a lot less of the emphasis on blame and the remaining child and a bit more hope and simplicity that the small Italian setting provides, the grief, however, is universal. "The Son's Room" is subtitled. (A)
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STORYTELLING

Release: 01/25/02-(R)-(1:23)-[FINE LINE FEATURES]- PAUL GIAMATTI, MARK WEBBER, JOHN GOODMAN, JULIE HAGERTY, LUPE ONTIVEROS, SELMA BLAIR, ROBERT WISDOM, LEO FITZPATRICK: Todd Solondz has returned and brought with him a film in two parts rich and teaming with black humor and pathos about life in suburban New Jersey. From the director who brought the richly rewarding "Welcome to the Dollhouse" and the somewhat disturbingly black "Happiness" comes "Storytelling" a breakdown of life and those of us living it from the perspectives of fiction, in this case a class about writing fiction, and non-fiction, based around the absurdities of real life through the hand-held documentarian's camera. In Fiction Selma Blair is the seemingly naive grad student taking a course from a weathered and blisteringly angry black professor named Mr. Scott. Vi (Blair) is having an affair with another student in the class named Marcus (Fitzpatrick) a young man stricken with cerebral palsy. The class sits around a large table and reads their fictional short stories to be critiqued by the other students and the stoic Mr. Scott, himself a Pulitzer Prize winner for "A Sunday Lynching". It is about the relationships between Vi and Marcus, and Vi and Mr. Scott as it is Vi who eventually writes an all too real piece of 'fiction' about a sexual encounter with the teacher and the repercussions in her life. 'Fiction' manages to blur the lines regarding truth and the fiction being written as well as twist or reverse the realities of racism and bigotry in America in the 1980's. It is all too real and portrays and intense moodiness in all of its characterizations. Fiction leads to Part two in Non-Fiction where we open with the frumpy 30 something Toby Oxman sitting in his ratty bedroom reading his yearbook and calling on a girl from high school for a connection. Oxman was supposed to have found fame as an actor after high school and instead dropped out of Law school and attempted to write a novel. Currently we discover that he is a shoe salesman in NYC and is trying to get a documentary going about the high school that he attended. As it turns out he gets the permission to do the documentary from a principal who simply could not care less and ends up running into Scooby Livingston while going to the men's room. Scooby (Webber) is an intensely moody and affected student from a rich family who is at odds with his father because he doesn't want to go to college (amongst other things). When the focus of the documentary becomes the angst of the high school student in the transformation and attempt to find the college of choice and get accepted, Scooby and family become the focus of the documentary. Once filming we meet Scooby's father, an angry heavyset man (Goodman), mother, who just wants everything to be ok (Hagerty) and his two younger brothers, Brady, a jock and Mikey, an eternally precocious 5th grader. There is so much pathos and dilemma in this story, and subsequently the documentary as well that it flows like a dark and murky river coming to a somewhat stunning conclusion. It is conceivably a darker and weirder take on "American Beauty" with extras and a terrifically banal performance by Lupe Ontiveros as the glum and downtrodden El Salvadorian live-in housekeeper. Mr. Solondz has brought another fine alternative style of film messages and images to the screen. Vive la difference and welcome to 2002. (A)
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BROTHERHOOD OF THE WOLF

Release: 01/11/02-(R)-(2:22)-[UNIVERSAL FOCUS/STUDIO CANAL/TF1 PRODUCTIONS]- SAMUEL LE BIHAN, VINCENT CASSELE, EMILIE DEQUENNE, MONICA BELLUCCI, JEREMIE RENIER, MARK DACASCOS: A visually pleasing epic mish-mosh of styles and languages, The Brotherhood of the Wolf is a light-hearted and yet heady French take on what Hollywood might do for the big budget blockbuster. Quite frankly I have never seen anything quite like it from anywhere BUT the United States. Here we have a story loosely (oh so very loosely) taken from French legend about an 18th century beast terrorizing the masses at the time of the fall of the French Monarchy. It is a masterfully filmed beauty shot through forests and landscapes that will take your breathe away. But there's more.. Add to the cinematic qualities an atypical, wordy beaujous aristocratic period costume drama and layer it with the best of an Asian martial arts and an American Indian Shaman and stir carefully. The Brotherhood of the Wolf is quite an interesting recipe... but it works. Set in 1795 the story begins with an unsuspecting peasant girl being manhandled and thrown about in the air by an unseen and ferocious sounding terror. The King sends out a special envoy (Le Bihan) to bring back the beast and the story is based upon what he, and his co-hort, an American Indian shaman named Mani (Domascas) find. In the search for the Beast of Gevaudan Fronsac and Mani become the guests of a group of aristocrats and noblemen. During the course of a cover-up and then continued attacks throughout the land our hero falls in love with a young noblewoman named Marianne (Dequenne) and befriends the Marquis Thomas D'Apcher (Renier), who is also narrating the film at beginning and end. With the help of an Italian prostitute (Berlucci) more headway is made during this somewhat long film, but throughout there are tastes of wild and entertaining fight sequences in which, it would seem, all of 18th Century France was able to jump and kick much like "Crouching Tiger, Hidden Dragon". There is a lot to like about this film. It is a noble attempt at so many different styles of filmmaking and the mix is successful. It is charming and twisted, funny and beautifully structured and filmed. Much unlike the first film I saw in several previous years this one is a good omen of a good year to come. (B)
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