Reviews

For persons of a certain age, W.W. II was the defining time of their lives, and whatever followed could never compare. As the movie opens, a recently widowed but still lively woman (Judi Dench) hears a street musician gamely attempting to play the classic song, "Stardust."

This recalls her memories of when she played in an almost all-girl band that entertained between bomb raids during the War. The drummer, Patrick (Ian Holm), happily avoided the draft and enjoyed the ladies.

Patrick and Dench's character meet and decide to reunite the band, which takes them on a series of mini-adventures. Despite ups and downs, the band does reunite and makes a successful reappearance.

The movie is exquisitely written and understated, with superb performances from all involved. The characters are well-developed and all people who have not quit living, despite their years. And there's all that glorious old swing music!

This isn't the pontification of Steven Spielberg, but a serious movie nevertheless. The War affected everyone and that lesson is not forgotten in a movie that isn't afraid to entertain as it teaches.

I was mesmerized by this movie, but not because of the story line. The plot developments (except one) are fairly predictable and even shared in advance on some occasions.

What does make the movie stand out are the performances of all its actors and a dazzling visual style and cinematography.

You could summarize the movie by saying that the neighbors from hell end up next door to each other and the inevitable happens.

The entire James Bond ouevre is a guilty pleasure of mine, but in recent years, my interest has waned. While I thoroughly like the recently assembled casts of Dame Judi Dench, Pierce Brosnan and John Cleese (a brilliant choice to replace the late and lamented Q), the material just doesn't seem to rise to their talents.

The World Is Not Enough has the usual elements: evil villain bent on significant world havoc and Bond to the rescue. What's missing, however, are the detection and character interaction that marked the great Sean Connery Bond films (Moonraker excepted).

Instead, we have gunfights and explosions and predictable chase scenes. I could also do without the '60-ish double entendres and stupid names (here we have a Christmas Jones). Hey, guys, just say it!

I do applaud the filmmakers for taking on the chaos of the new world order, since Bond no longer has Commies to fight and there seems to be a lack of megalomaniacs about. But John LaCarre's "Single and Single" (a book) is far more satisfying and works the same turf.

When the Gulf War "raged" in 1991 and more than 90% of the American people claimed they were behind this cynical effort, I kept my dissenting mouth shut for perhaps the first time in my life. It was clear to me that we were saving some rich (and absent) Kuwaiti ass and our oil supply; the persecution of the Iraqi people by Saddam Hussein was not our concern.

"The Three Kings" brings this message home with flair and style; I gave it a 9. Good, solid acting; solid editing and occasionally brilliant editing work hold up throughout the movie, which must have been hard to shoot in the desert. Several scenes in which good guys and bad guys are confused truly illustrate the idiocy of the situation.

The plot is simple enough: A few soldiers to collude to steal war booty and find the heroic within themselves, if only briefly.

What kept this movie from greatness? Perhaps the pervasive cynicism, relieved only at the end, and then it's not lasting. Nevertheless, it's well worth watching as an action flick or as a study in modern "warfare."

Such a waste of talent! A great cast, led by John Cusack and Billy Bob Thornton, drag through this melodrama about two men fighting to be The World's Best Air Traffic Controller and who use, inevitably, their wives as pawns. A female controller, played by Vicki Lewis, seems thrown in for "balance," but she is forced inexplicably to perform a degrading bump-and-grind at some sort of talent show midway in the film.

Not one of the characters shows any personal growth in the entire film. Cusack's character makes a mistake and learns from it, but that's not a substitute for intellectual or emotional development.

The biggest surprise is seeing Australian Cate Blanchett, of "Elizabeth" and "Oscar and Lucinda," as a convincing Northern New Jersey housewife.

David Mamet is a writer and director best known for his sparse, intense dialogue and puzzle-like plots. The thought of him doing a movie set in Edwardian England, after decades of Ivory-Merchant treats, was shocking. But it works, brilliantly.

Edwardians were reserved people who were enjoying the fruits of the height of the British Empire and a comfortable middle class had been established. Into such a family enters a shocking development: the youngest son has been expelled from school for stealing. He insists on his innocence and the family turns to his defense, at great emotional and financial cost.

Based on a true story, The Winslow Boy is a fairly conventional drama about the tedious, disheartening search for justice experienced by far too many people. As is suggested to the family many times, why make all this fuss and get on with your lives. But this is about people to whom principles matter.

Mamet's careful control of the actors and direction perfectly suit the mood of the period, even if one can see the plot's bones poking through. Well worth my "9."

Election is a fine movie, full of subtleties about the high-school jungle and the people who occupy it. The major plot line follows a race for Student Body President, with a driven character admirably portrayed by Reese Witherspoon (who also was quite good in "Pleasantville").

Reese's self-absorbed character is fully-enough drawn to recognize and capitalize on the weaknesses of others. The others characters also are well fleshed out, although not one really has the depth to understand the confusion he feels. Which is ok: That's real life.

The hormonal aspect of adolescence is barely recognized and rather a relief. The viewers are treated with intelligence and hey, if you miss a line, that's your tough luck. These moviemakers expect you to pay attention.

Some interesting photographic work and judicious flashbacks and post-hoc narratives add to the film's gleam.

I was particularly glad to see actors like Matthew Broderick, who effortlessly plays the teacher supervising the election, and Witherspoon appear in a film that will be considered off-beat by many.

The one major failing I had with the movie is understanding the romantic troubles experienced by the two male teachers.

For the most part, "The Siege" fits the standard template of the action/thriller genre. Lots of explosions, hints of evasion and deception, more hints of romance, high tech-gadgetry galore. And all beautifully produced.

But "The Siege" is about the US Government, in the form of a mad Army general, fighting its own people, who is stopped by the determined FBI agent Tony Hubbard, played stoically by Denzel Washington, terrific as usual. His partner is played by the always able Tony Shalhoub, whose own Lebanese roots add irony to the plot.

The plot set-up is simple: Arab terrorists, enraged by a secret US kidnaping of one of their leaders, launch a series of bombings in New York City. The crippled FBI is pushed aside by frightened politicians who favor a military solution. Woven throughout the plot are the actions of a CIA agent, Annette Bening, whose name might be Sharon or it might be Elise.

Why did I like it(an 8)? Because Bruce Willis is the bad guy, a role he should always play. And the last third of the movie, while a bit corny, reminds all of us why the US is the greatest nation in the world.

I avoided watching "Mrs. Miniver" for years because I assumed it was a treacly, sentimentalized film that ignored what I considered the real issues of war. Knowing Greer Garson, who I considered the anti-Crawford, starred in it gave me more of an excuse.

I finally watched it as "film homework" and loved it. It's about an upper-middle-class English family (although most of the American actors are terrible holding their accents) and their experience in the early years of World War II.

A swiftly-moving storyline takes us from the complacency of peace through air raids, Dunkirk and tragedy. No one is a super-hero, but decent people who understand they must put aside their personal concerns and do what must be done to fight for their country and freedom. No one preaches except the minister and he, only rarely.

Of course, it being England, there's time for a flower show, and being a movie, there's a romance (WWII was not kind to Theresa Wright's characters, however).

The film's remarkable pacing is one of its great highlights. Long transitions are covered in the merest of hints; a comment that a servant has departed, for example. Yet there's time for powerful, lengthy scenes such as that of the Minivers holed up in a crude bomb shelter with their two young children, away from their storybook home. Despite the increasingly hellish crash of bombs and bullets, they try to chat about knitting and such. But soon the fear builds to an unbearable climax and the family desperately clings to one another.

The acting is generally superb, and much of the story is told through silent shots of the stars, rather than dialog. Few moments are as touching as the shot of the glowing young wife seeing her husband off to war, admiring his courage, contrasted by the barely hidden fear and maturity of the mother.

You can nit-pick; the movie has many of the conventional stylistic hallmarks of the period. But it is the masterpiece it has long been hailed.

On a second viewing, I found "Pleasantville" to be amazing, especially from a Director/Writer (Gary Ross) with such slim earlier credits ("The Flintstones," "Big").

Special effects and the plot mechanic absorb the viewer the first time. Once you get over wondering, "How did they do that?" you can listen to the story and appreciate the serious questions posed about popular culture, mass culture and the survival of the individual.

I particularly was taken by the trenchant mayor's assertion that only a "non-changeous view of history shall be taught in the schools."

All of the performers are good, but I think Joan Allen and Jeff Daniels especially rose to occasion, as they deal with the anguish of finding their new selves. William H. Macy is good, too, but in a role he's played too many times.

Change beats us all up every day, but this movie lets us see that it is a precious gift. "I don't know" becomes an assurance, not a defeat.

This movie and "The Parent Trap" somehow defined my painful adolescence: a lonely girl finds a friend and embarks upon fanciful and innocent adventures, only to learn more about adults than she ever wanted to know. I loved both movies and watched and rewatched them so when I saw "Henry Orient" come up on cable recently, I was curious to see how it had aged.

Wonderfully, in one word. All the cast gives stellar performances, with special praise for the young actress/stars, Lansbury, Bosley and Prentiss. Peter Sellers is good but his role is so cliche-ridden anyone would have trouble bringing it to life, although it is vital to the twists of the plot. A lesser actor could have blown it and ruined the farce.

Every child - at least in my generation - had a transitional year where s/he was finally allowed some new freedom to explore the world but did so hesitantly, unless a (same-sex) friend was nearby. Mating Games lay ahead and desire fought with fear.

Under Hill's direction, New York City is a place of sophistication but also a home inhabited by real people, The wit is dry and while some of the situations are quite adult, there's no need to hide the children.

Some movies seem to be made before we are ready for them. As I watched this film, made in 1988, in 1999, I thought I was watching the O.J. Simpson debacle (although I have very different opinions about the innocence of the individuals in each situation).

The Australian news media, if this movie is to be believed, devoured the case of a possible infanticide and truth was left as an afterthought. It was scary to see the scenes of invasive, swarming media hordes, ridiculous accounts of half-truths and lies and debates over the supposed merits of the case by persons at all levels of society.

Equally appalling is the media's depiction as indifferent and uncomprehending of the technical information in the case. I do wish more was made of the issue of religious prejudice in the case (the accused are Seven-Day Adventists).

Today these circuses have become common but that makes the lesson only more important.

Streep is excellent as usual, and this is the best I've ever seen Sam Neill. The Aussie accents get a bit thick at times but not incomprehensible.

While I am devoted to musical theatre I had somehow missed this gem. For once the elements of light comedy, musical theatre and drama are mixed perfectly to create an engaging and entertaining film. Highlights include fine acting by all of the stars and an excellent display of the ground-breaking choreography of Jack Cole, who doesn't have to satisfy star turns and can display his talents fully.

In the tradition of classic farce, the clashing lifestyles of a sportswriter and a fashion designer are played for humor rather than war. A serious subplot involving Mob involvement in boxing blends in well.

So greed leads to an inevitable downfall. "'Tis a tangled web we weave when first we practice to deceive." Ka-thump, ka-thump, ka-thump - Edgar Allen Poe's "The Tell-Tale Heart." Some semi-brainless small-town men (including two alcoholics) find a treasure trove and it destroys them. Where have we heard this plot line before?

I admired the movie very much for its craftsmanship, but the suspense was zilch. My rating of 7 was based solely on the acting and cinematography, although the person who came up with the crow imagery should be banned for life on grounds of obviousness.

One exception in the acting kudos: Bill Paxton chewed everything in site, even the snow. He should have watched Billy Bob Thornton for an acting lesson.

I don't remember the last time I hated a movie this much: smarmy, predictable, self-satisfied. The leaden retelling of the birth of Christianity through a few months in two boys' lives is an insult to true believers. Nor have I ever seen so many geographic inaccuracies and anachronistic detail in a movie.

On the other hand, the performances (even Jim Carrey, whom I generally hate) are generally excellent and kept me watching the whole film. The actors went way beyond what the script gave them and developed, for the most part, likable, interesting people.

Yes, I read and enjoyed "A Prayer for Owen Meany." Maybe I'm mad about what was done to a fine book.

I am the daughter of a relatively well-known mathematician (co-developer of "The New Math") and this movie reminded me of my "Life with Father." Mathematicians are a different breed and after he died, I cleared boxes of sheets of calculations from his house. This amused him (the problems, not my cleaning). So I'm saying the film is real; some people, however, take their interests over the edge.

I found the presentation to be a bit too arty, though, perhaps to elide the weaknesses in the plot. As representations of madness, the visuals were effective but also trite very quickly. A lot of it reminded me of Kubrick's "The Shining."

Any movie that credits an Angel, a Mensch and an Ant Wrangler has to be seen, however.

As my late father was a WWII vet, I've tried to read and see as many films about the war as possible, to get some idea of his experience. This was the second (to "The Best Years of Our Lives") that seemed to me to capture realistically the time and emotions of the war era. In this movie, the issue is the leadership of the country and its accountability for the war, and how that accountability will be handled. No one escapes criticism as the protagonists try to assign blame. Stunning performances all around (even from William Shatner!) and cinematography that proves why b/w films were art. In the end, though, it all comes down to the moral decisions we each make as individuals and our willingness to live with our choices. Brilliant and intelligent, without the contrivances and sentimentality of "Saving Private Ryan."

I've never seen MacMurrary of Russell give more nuanced performances than in this screwball comedy about a successful woman executive who hires a male secretary to appear conventional on social outings. What is completely surprising is the outcome isn't one that consigns either character to a rigid, gender-defined role. Sly wit and great performances throughout, albeit marred by unfortunate racial stereotypes of the time.

Seldom has a film had a more talented cast and crew of supporting talent than "On the Town," yet the result is just a mess of Average. One good number - the eponymous "On the Town" - has to carry a frail storyline which is pushed to exhaustion by the overacting of the cast, who seem to be on amphetamines. I love the musical genre and generally look forward to seeing any of these people's work, but this was a real disappointment.

Only the excellent cast saves this vastly over-produced so-called thriller, and the good guys are forced to act like a macho '90s Mod Squad. Tommy Lee Jones is made to be the only person on the planet to not guess the villain by the second reel. Watchable, but not satisfying.

In honor of the director's recent death, I've rewatched almost all of his movies and decided this is truly his greatest, the most fully realized in terms of character, style and message. As I love Kubrick films, this is saying a lot. The subject matter is still appalling and hard to watch, but I wish those directors of the Van Damme/Schwartzenegger school of movies would watch this to really learn what violence is.

As always, a cast of relative unknowns makes the movie sparkle and Malcolm MacDowell's all-out performance is spellbinding.

New-age spirituality meets an old-fashioned western with success. Acting is great and the movie flows well. Altho' it may have helped to tape it and zap thru' the ads. The good guys vs. the bad guys shoot-out at the end is incredibly well done.

Watching this movie, I was constantly and sadly reminded of the US' own issues re: treatment of black suspects in the past. Echoes of other prison -survival movies appear as well. I recommend watching this film, for the insight into the "Irish troubles" as well as the superb performances.

A movie really about survival, not about a dreadful accident/death. Great acting and cinephotography; some weak story links but the characters overcome them.