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