Movie Reviews

Jan-June '02 Movie Reviews*
Review Page*
More Movie Stuff*
Internet Movie Database
Rotten Tomatoes: Reviews and Previews (& Tickets!)

* = my pages

I include the ratings supplied by the board in charged of such things, though I do so with the proviso that I feel that they are rather arbitrary. For instance, many "R" rated movies, are so rated because of some bad language or other content that really does not make a movie inappropriate for those under 17. An early example of this in my eyes was "Pump Up The Volume," a teen flick starring Christian Slater (not bad message movie, see it) that was rated "R," though its core audience clearly included many under seventeen. Sexual language and other stuff no teen surely deals with daily. Follow this up recently with "Crazy/Beautiful," a superior teen romance/cautionary tale that was cut some to retain a "PG-13" rating, though the mature behavior portrayed was clearly in a negative light. It all seems so trivial and arbitrary.

Also, the ratings board is rather sex phobic, especially in regards to male nudity, while violence is much more acceptable (the opposite of many European countries). The difference of "PG-13" and "R," especially for many older teens, is therefore rather arbitrary. Likewise, a few mature quality films have to be cut or left unrated because of fear of the box office poison "NC-17" (no viewers under 17 even with an adult), thus sacrificing art for censorship. I think a more liberal reading of ratings should be in place, which would be more honest (teens go to 'R' rated movies all the time), and age appropriate in the long run. Why should watered down brainless fare of a sexual nature be "PG-13," but not serious material that in the long run is a lot better for teens to watch? As it is, the rating system is somewhat in disrepair.

Since the main reason many people go to the movies is to have fun and enjoy themselves, movies that basically provide just that service should not be slighted. All the same, two movies that are not only fun but actually have some interesting twists in them have been criticized for being slight, ridiculous, or lame. The first is an international favorite, "Bend It Like Beckham" (PG-13), a title that refers to a particular soccer move of a famous British "football" star. The movie follows typical ethnic formula, here carried out by a daughter of Sikh Indian immigrants excelling on a women's soccer (to be American about it) team. Of course, this means going against her family's more traditional desires for her, though her best friend on the team (a white Brit) also has to deal with a mom that doesn't like her daughter doing something apparently not properly feminine. Fairly expectable complications include fear of lesbianism, romantic complications, and the like. One can see why critics might not like this type of thing, but truly few movies provide something "new underneath the sun." A movie that provides an amusing story, characters we can root for, as well as doing so in a skillful way is nothing to sneer at. Also, a movie that introduces us to a culture we might not be that familiar with and promotes cross cultural unity (the team, as sports tend to do, unites people of various backgrounds, noticably ethnicity) is quite valuable as well.

The Core (PG-13) actually provides something fairly new ... a modern day inner space (so to speak) adventure story, though science fiction writers dealt with this sort of thing circa 1900. Putting aside the insistence of its producers that it is actually scientifically conceivable, it offers what a movie of this sort wants to offer: a fun and at times exciting adventure story with some amusing twists. One, which I will not spoil, might be seen a mile away by savvy movie goers, but it is fun all the same. Another fun component is the comic relief, egostical scientist played by Stanley Tucci. Or just thinking about the plot: a band of terranauts (grin) have to go to the center of the earth to kick start the core of the earth, which is suddenly not spinning properly with the help of a ship made out of a substance nicknamed "unobtanium." Suggesting this whole plot is ridiculous (as various critics did) is ridiculous in itself ... apparently cloning dinosaurs or any number of other plots is more logical to these people. The true test is "how enjoyable it all of this." The answer is that it is on the whole quite enjoyable ... it is a fun ride mostly from start to finish, more so than many SF blockbusters that try to overwhelm us with special effects. And given the real life threats to mankind out there, this was a fun diversion.

A less well known, but as light hearted in its own way film, was the Oscar nominated The Man Without A Past (PG-13). The movie is in a way as much of a leap of faith as "The Core," involving a man who lost his memory, after being nearly killed in a violent robbery. This turns out to be a good thing, since he gets to get a new start in life (a dream of many) and learns that he quite likes the struggling working/low class area that he winds up, after just walking out of the hospital that just pronounced him dead. This includes meeting a woman living a humdrum existence working in a religious charity that provides important services to the struggling community where he winds up. The movie is acted in a totally deadpan way from start to finish, one of those movies where you wonder how the actors didn't crack out laughing half the time. It is a touching fable and is one of those movies that one wishes had a wider release than it typically gets.

I didn't post a review for a while, so let me sum up the end of the year movies I have seen, which includes various "Oscar Bait" movies bunched at the end of the year in limited release, and details such as ratings, main characters, and what a more established critic thinks can be found here.

"Adaptation" was not really about its putative subject, the adaption of Susan Orlean's book "The Orchard Thief." All the same, Chris Cooper's portrayal is one of the best things in the movie, as is some Meryl Streep, especially her attempt to simulate a dial tone. The movie is really about a screenwriter (real life guy) played by Nicholas Cage having a damn hard time adapting the novel for film, while his twin brother (apparently not a real life guy) has a lot easier time of it with his hackeyed screenplay, written after a quickie screenwriting course. The film got mixed reviews, but I'm with those who thought it had its moments, but ended up a bit too pretentious, self-indulgent and tedious ... the ending in particular was ridiculous, even if accepted as satire.

"Morvern Caller" (Scottish locales, Midlands accent used) was really Samantha Morton's film ... her boyfriend had just killed himself at Christmas time as the film begins, and the film shows how she handles or perhaps doesn't really handle his death. The story of the film is slim, but the atmosphere and performance (largely silent, but very expressive, suggesting her inner self) is something to see. It personally got tiring after awhile, especially after she went on a trip to Spain with her "best friend," but this is part of the reason why we go to films, especially independant efforts like this one. As to foreign films, I also rewatched the enjoyable and well acted German film, "Simply Martha."

And, there's the historical films. "The Hours" is a star filled take of Virginia Woolf's "Mrs Dalloway," including Woolf (well played by Nicole Kidman) herself. The story involves three generations of women unhappy with their lives and those among them who are oblivious or unable to help them. Well acted and put together, if historically suspect, it could have taken more chances. "Max" looks at Hitler in 1918, struggling between art and politics, though the film is more concerned with a German Jew and WWI vet art distributor, played by John Cusack. Interesting use of the period (don't take it as history though, it is not quite meant to be), the final speech by Hitler is powerful and scary, but the Cusack character isn't quite worth a film treatment ... bit too shallow, though still interesting and well acted by all. "Chicago" has a slim story, but does the musicial proud.

"About Schmidt" is Jack Nicolson's latest star performance, concerning a retired actuary examining the true value of his life while visiting his soon to be married daughter. He performs admirably in "The Pledge" like fashion as a retired career man who doesn't know what to do with himself, but this time he doesn't have a "pledge" to drive him. In fact, once his wife dies and he goes on a trip to bide his time until his daughter is due to marry a boob, Schmidt basically recognizes the pointlessness of his life, especially now. This all is basically rather depressing, though such absurd touches as him writing unappropriately serious letters to his African foster child and Kathy Bates [with a nude scene] as the liberal divorcee mother of the bride helps temper the depression. After awhile, it is a bit too much, you get the point, but are still impressed at Nicholson's performance. Mixed result really.

The reviews were surely mixed, if not bad, but "Two Weeks Notice," the romantic comedy starring Sanda Bullock and Hugh Grant was actually pretty good overall. As with another Xmas time light comedy, "Miss Congeniality," this film was an enjoyable star vehicle with some nice surprises. Bullock stars as an idealistic lawyer who goes to work with rich playboy Grant, and of course they eventually fall in love. The leads are pleasant, the banter and pace breezy and comfortable, and Robert Klein/Dana Ivey are excellent as her parents. The film also has some great shots of NYC, especially Coney Island, and a visit to Shea Stadium. A fun time overall.

This started out as a one woman show by the star of the movie, Nia Vardalos, and later was made into an independent feature through the assistance of Rita Wilson (Greek) and her husband Tom Hanks. The movie concerns frumpish thirty year old Greek woman with a crazy traditional Greek family (e.g. her father thinks Windex solves all problems and that every word, including kimodo, came from Greece) . Wanting something different than working in the family restaurant, she takes some college classes, and goes to work in her aunt's travel agency. She meets and falls in love with a pretty ordinary (non-Greek) school teacher (played by the dreamboat of many women, and probably a few guys, John Corbett) , who wants some excitement in his life. Her father is rather uncomfortable with the whole idea, but learns to accept it, while the guy's pretty stolid parents are able to handle a bit better their crazy inlaws.

It is a pretty simple story, amusingly told, but has been a great success. It has been in the theaters for months, made over one hundred million dollars, and talk of Oscar nominations are in the air. Why such success? A big part of it is that it is an time worn story of an old world family adapting to a family member marrying outside the tribe, has romance, a feminist tinge (the true power of the family is the women, Nia does her own thing), respect of family, and a bit of naughtiness (pre-marital sex is not judged, though old world values would frown upon her not being a virgin any more), but surely not too much to make the PG rating ridiculous. "Blood Work" was a good, not great Clint Eastwood flick that had shades of an old police procedural (Clint actually investigated the crime) ... like this film, it's no masterpiece, but it still is rather uncommon. And, perhaps, this plus the good and enjoyable job it does to deliver quality entertainment does make this film a bit of a mini-masterpiece after all.

This movie almost is a pretty good atmospheric thriller. It starts on an Italian luxury liner as the rich and elite ground enjoy a night of fine dining, music, and dancing as a bored young girl looks on. The trouble starts here ... though the scene looks great, everthing seems a bit too artificial, as if it was an early silent movie where everyone wears makeup so that their skin shows up on the prints. This false affectation was annoying as was how they met their fates. Forty years later, an airman stops at the table of a just successful scavenge crew and tells them of a discovery he made ... would they be willing to take it? Ok, says the captain (played by Gabriel Byrne, first mate is Julianna Marguiles, who again shows tv stars can have a future in movies), and accepts the guy's condition that he is allowed to come along.

Of course, the trip does not go as planned. The movie in general provides the right atmosopheric mood ... the scenes on the scavenge boat felt like B level "Perfect Storm" type scene, and the scenes on the luxury liner were equally good. The acting was also pretty good (surely for this type of movie), though the female lead clearly stood out, and could have used more than the underwritten supporting cast gave her. The problem was that the movie didn't quite follow through its moderate potential. It started to drag, all atmosphere, little follow through. There was not enough action, and honestly, the story and acting wasn't enough to carry the movie. As noted, some of the action was too affected and felt phony, and the ending was trite and then annoying. Overall, with a bit more, the movie would have been a decent little flick; as is, it didn't quite meet that definition. I admire that it tried though. ["Virus" did the at sea thriller thing a bit better]

The director of the Japanese animated gem (dubbed flawlessly and re-released in America) "Princess Mononoke" has made another gem, albeit one somewhat less philosophical in "Spirited Away." This one is about a young girl upset about moving away to a new home who gets stuck in a strange land that turns out to be a bathhouse for spirits. After her parents foolishly stuff themselves and turn into pigs, Chihiro has to find a job, or she too will turn into an animal. A scared, but in fact brave and truly goodhearted girl, she does find a place with help of the nasty forewoman's assistant, and her goodness puts her in good stead. The world is filled with strange (some scary, but she keeps her balance) creatures, many shape shifters, and wonderous sights ... the animation (anime/hand drawn to perfection here) is fantastic.

The movie has allusions to the polluted environment, the terrors of childhood and change, human relationships, and more, but overall it is a wonderous, amusing, and often fascinating vision for the moviegoer. The young heroine maybe a bit too uncomplex dramaticwise, but this is but a small problem in this mostly wonderful movie with a two hour running time that seems to whisk by. A movie to see to see why the movies (and animation) can be so wonderous.

This movie is far from dramatically surprising, but it is a little gem because of the truths it tells, and the great performances of the leads who tell them. It concerns eighteen year old Ana Garcia, a plus size hispanic in Texas who is smart enough to escape from her working class immigrant family, but her family (especially her mother) doesn't want to lose her. Her mother in particular doesn't understand why after working all her life, her daughter should go away from her instead of getting married young and working like she did. Also, self-hating her heavyset frame, she wants her daughter to hate hers. Ana resists, but also learns how hard her mother and older sister (who runs what is basically a sweatshop, but is rightly proud of her hard work and responsibilities) work, while still learning to believe in herself. A gentle romance with a white middle class classmate also adds to the films message of acceptance of who you are.

Cate Blanchett provides another excellent performance as a British school teacher living in Italy who is driven to take law in her own hands when the police ignores her pleas to stop a drug dealer. Unfortunately, her attempt goes horribly wrong, and innocents die. Nonetheless, a young police officer (Giovanni Ribisi) falls in love with her while she is in custody, and decides to help her. This all goes down in a elegiac way with excellent performances by the leads. The movie then takes a left turn, becomes a road trip (used an allegory, but this is what it feels like, and it didn't work that well anyhow), and loses its way. The movie has high aspirations to go along with its title, but might be trying to bite more than it could chew. A movie that has enough excellence in it to be worth a viewing, even if it is doesn't quite work overall.

Reese Witherspoon played a rich, if frivilous, college student in "Legally Blonde" (sequel forthcoming). This time, she started out as a poor Southern country gal, but found success in the big city (New York, though the mayor and her son at times sounded like they were from Boston) as a fashion designer. When the mayor's (Candice Bergen) son (Patrick Dempsey ... where has he been lately?) proposes, she has a slight problem ... technically she still is married to her Southern beau. Unfortunately, he is not too willing to grant a divorce ... he still loves her and all ... which means she has to stay down in Alabama (Georgia standing in ... since, hey, if Bostonians can be in NY, Georgia can fill in as Alabama) for a bit. Long enough to remember life wasn't all THAT bad down there after all.

The lead makes this movie, though she has some support, and there are some funny scenes among the far from surprising plot developments. Nonetheless, unlike the similarly no big surprises "Legally Blonde," this movie did not quite work for me. The plot was a bit tired and was not as consistently fun as her last role. The idea of going home again is a good one, though of course the charms of small town life vs big city is old news. Also, why she left her first husband was a bit too serious for my taste. This movie is decent, but one is left expecting a bit more.

It is not as if I have not been going to the movies the past few weeks, but I have been seeing some foreign and independent type movies that are not available in many areas. On the other hand, some of these have had a wider release, as well as been of some note given their subject matter or cast. Finally, I know that few are likely to read this page at any rate, so what's the difference if many will not get a chance to see some of these movie! If nothing else, these movies deserve a wider audience, especially in the summer, which had more than its fair share (as usual) of lousy movies.

Let's start off with Possession (PG- 13), a modern day/past love story that reminds many of the movie "The French Lieutenant's Woman," another movie with a present day romance that paralleled a romance of the past. "Possession" which concerns the discovery of a letter, which seems to imply that a famous (married) nineteenth century English poet had a love affair, an affair with someone that was thought to be a lesbian. While investigating this, a brass American graduate student (Aaron Eckhart) and a proper English (um English) professor (Gwyneth Paltrow) against their better judgment, also think of romance. Based on a novel, something was loss in translation, since the modern day romance seemed a bit abrupt and lacking in some way. Also, the results of the 19thcentury romance are a bit harsh for a movie that ultimately seems not to be that much of a drama. Nonetheless, an adult, literate, romance/love of the English language and overall well acted movie will not be bad mouthed too much by this writer. Of special note, is its cinematography and sense of place and time ... it might just deserve a look at Oscar time for this aspect alone.

Mostly Martha(PG) concerns a private and totally serious about her work German chef whose life changes in several ways when she has to take care of her niece as well as deal with a new Italian chef at her restaurant. The movie is somewhat predictable, but what gives this German movie its charm is that it is not really a comedy ... serious things (like her sister dying and her niece not wanting to eat) happen, and happen without much mercy. Yes, the movie has its light moments, and follows a predictable "thawing out" storyline, but with an edge that is often lacking in other films. Satin Rouge also follows a fairly traditional storyline (kind of "Dirty Belly Dancing," but for a Tunisian widow in her thirties, not a upper class teen in the Catskills), and has a bit of a less developed story, but also adds some foreign charm. This time, we get a feel of local cultures, as well as being reminded that all people from the Middle East (actually, North Africa) are not backward types that force their women to wear chadors, but include women with complex sexual lives, and societies not THAT far from our own.

Swimming (NR) stars Lauren Ambrose (of "Six Feet Under") as an orphan teen stuck in Myrtle Beach, South Carolina, helping her older brother run a diner, and being quite bored of her life and fate. The thing that saves this from being a typical coming of age story of an "ugly duckling" is first the excellent performance by the lead, and also the fact the movie is not concerned with any big special developments, but just to observe her summer goings on. Yes, changes do occur: a new waitress provides some excitement, as well as teaching her that she can take chances and not hide behind shapeless clothes. Also, a quirky newcomer takes an interest in her, but no, we don't see any big romance or any big sexual awakening ... just two young people who like each other and want to spend time together. As with "Simply Martha," this movie shows how time worn themes and storylines can be made fresh and enjoyable with the right actors, writing, and sense of place (though one did not quite feel Myrtle Beach as a unique place ... it could be any number of seaside resort towns).

Secretary (R) is a bit more controversial, given that it concerns a troubled young woman who finds the pleasures of dominance and submission. Recently coming out of a mental institution, Lee (Maggie Gyllenhaal, whose brother is in "The Good Girl" and other recent flicks) applies for a job as a secretary for an uptight sexually repressed lawyer (James Spader, perfect for sexually mixed up male roles, e.g., "sex, lies, and videotape"), who insists to still use manual typewriters. This touch alone suggests the fantasy elements of this movie, one in which submission and dominance supplies a sense of stability and caring on one side, and a way to for a bottled up, emotionally scarred soul to express himself on the other. Let's put aside the fact that many in real life find enjoyment and yes, even meaning, in s/m relationships (or just accepting that one side will exercise more control than the other). The criticisms of this movie as "sick" and "anti-feminist" (even though based on a story and from a screenplay both written by women) is still misguided. Consenting adults are allowed kinkiness, and both sides of this relationship are far from ideal individuals. Some are upset by the light, comic tone supplied to the subject matter ... I say, do not be such a puritian! The way Lee shows her love at the end is a bit much, but overall this is a refreshingly off the wall look at how troubled people find a way to find happiness.

Clint Eastwood stars in and directs this movie (based on a best selling novel) concerning a retired FBI profiler who investigates a murder committed against the person whose heart saved his life. Though the stress threatens his life, he feels guilty and obligated to help, and besides, it again gives his life some purpose and excitement. Meanwhile, issues of the nature of good and evil and such are touched upon, though as comic relief Jeff Daniels said promoting the film, one is likely to be going to this film to see an Eastwood crime flick. And in that, you pretty much get your money's worth, though a seventy year old man running after a criminal (end result notwithstanding) and a stupid role by Paul Rodriguez (the cast multiracial, so this is not a racially motivated move per se) does suggest the movie has its flaws, while also being tied to some of the cliches of the genre.

The movie was criticized for being too linear, that is, not having enough depth of character and style. I am think this is false; the movie does examine the frailty of the character as well as his sense of obligation and so on. Also, the movie does have a style ... old fashioned or not, Eastwood is quite popular, so why should he try some new age thing or something? It is also true that the story is not that complex, but there is a charm to a smooth step by step police procedural ... and actually, there are not so many out there to demand so much complexity. I too think the mystery might be a bit deeper, but it is to be noted that the movie is also concerned with the main character, and his place in all of this. Is the storyline in every Dirty Harry movie so complex either? This is good, but not great Eastwood ... take it with its flaws, and one is left with a pretty good movie.

Jennifer Aniston has been in a few movies, and quite arguably has had the most success after Lisa Kudrow. Aniston has not shown has much range, it is true, but a movie such as Office Space does suggest talent. At least the director of this film thought so, and based his choice of Aniston in the lead largely on her performance as a put upon chain restaurant employee. In this film, Aniston stars as a put upon and listless employee in a bargain basement Walmart type store, unhappy with her marriage to a nice if clueless pothead painter, and feeling stuck in her empty life in a small Texas town. Her ill advised solution: an affair with a younger employee, ironically the same one who had an affair with an unhappy thirtish married co-worker in Lovely and Amazing. This is ultimately a rather depressing view of human nature, but all the same feels true, in no small part because of the performances of all involved. Indie movies like these no less than more mainstream blockbusters like Blood Work are a reason to go to the movies.

In 1961, the US and the Soviet Union were in the midst of the Cold War and the accompanying nuclear arms race. A key part of this race were nuclear submarines, which were to be launching pads of missles. This movie is an account ("inspired" by true events, a good word to use for many historical films of this nature) of the test run of an ill fated Soviet submarine. The source of several deaths while still in dock, its first captain (Liam Neeson) protests the shoddy equipment and rush to push it to action. The government looks disfavorably at such concerns, sending in a replacement (Harrison Ford), while the old captain becomes second in command. This allows the hardliner and more compassionate/crew favorite to go mano a mano at various times during the movie. This cliched battle is the least enjoyable part of the picture, and if one checks the above link, apparently not based on history. Actually, neither is the suggestion none of the crew members were decorated for heroism.

What is enjoyable is the heart of the movie: the action segments (ironically, if anything, the actual events were even more action packed and dramatic than the movie portrayal) and the need to deal with a nuclear accident without proper resources. This leads to the several crewmen being required to fix the reactor while being exposed to tons of radiation without any real protective gear. Also, of course in the heart of the Cold War, requesting help from Americans is out of the question ... at least for the captain. A good touch was the threatening (including for morale) view of an American plane flying overhead. Kathryn Bigelow, director of the impressive looking "Strange Days" knows how to film meaty action. As suggested by the website, advertised by the film itself, truth was in some ways more interesting than the fiction inspired by it. Nonetheless, this is a mildly enjoyable blockbuster that does know how to hit some key high notes.