Reviews

The searing, provocative coverage of writer-director Todd Solondz's film puts on two fronts: the first one is a surface layer of the assumptive contentment within a Middle America social class family. Underneath, their deep longings and perversions are exposed. Viewers may be turned off by the unbiased cohesion of righteous and deplorable behavior, but regardless of whether this is done in the name of black comedy or raw drama, it effectively shares with us a range of harsh and happy truths. Three Half out of Five Stars. Rated R. DIR: Todd Solondz. CAST: Jane Adams, Dylan Baker, Justin Elvin, Cynthia Stevenson, Lara Flynn Boyle, Jared Harris, Philip Seymour Hoffman, Camryn Manheim, Ben Gazzara, Louise Lasser. 1998

WORLD ACCORDING TO GARP, THE **** Robin Williams, Glenn Close, Mary Beth Hurt, and John Lithgow offer terrific performances in this progressive look at the life of Garp--he's not an odd guy; he's just having to face the common problematic issues that come with childhood, adolescence, and adulthood. It's worth the watch to see the versatile mix of offbeat comedy and gritty believability when Garp and his mother move to New York and onward to find fulfillment. Even though things get over the top with the feminism/terrorism exploits in the conclusion, it all adds to the insight behind the wide range of characters. Rated R. 1982

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INFAMOUS **** Toby Jones's outstanding recreation of the inquisitive, homosexual writer Truman Capote, whose novel on a Kansas farm family murder incident was both the success and stumble of his career, lends all the more credibility to this picture. We're taken to 1959 when Truman and lifelong companion Nellie Harper Lee travel to the town of the murder to get their story. Sandra Bullock gives one of her finest performances as Nellie. Director-writer Douglas McGrath (Woody Allen's "Bullets Over Broadway") makes his script at times more clean-cut than credible in the scenes between the novelist and criminal Perry Smith. Yet this film generally compares with the prior year's "Capote" (dealing with the same subject), both of which are equally interesting in their individual prospectives on how Capote came to write "In Cold Blood." Rated R. 2006

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REUBEN, REUBEN ****1/2 Tom Conti's role--Gowan McGland, a philandering Scottish poet suffering from writer's block and a depression--is drinking away his fears and tears in wanting something more. He finds fulfillment, however, on one of his gallivanting book tours when he falls in love with a youthful, spirited college student named Geneva. The impressive turns from Conti, Kelly McGillis (debuting here as Gowan's girlfriend), and Roberts Blossom (as Geneva's grandfather) are a must-see, but it's Julius J. Epstein's screen writing that drives the picture. This film, which opened in New York with a bang but petered into obscurity extremely quickly, will intrigue, humor, and often surprise you. Rated R. 1983

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THE FIRM (1993) ***** 'The Firm' proves primarily that Corporate hot shots don't always have everything going for them...at least not for Tom Cruise, a fresh lawyer out of Harvard University esteemed with honors of great competency and greater potential, who's life comes crashing down at the least expected time. Hired by a Memphis firm with an opportunity to live a life in luxury, Cruise quite soon discovers improper conduct between his law firm and the Mob involving salary exploits. Now the FBI wants to recruit him to sell out the company, but his superiors are of even greater threat to him if truth of all he knows seeps out. In the climactic point our hero takes on his own plan of justice to save himself from hell's door and set things straight. Superb score (Dave Gruslin) and story work (adaptation of John Grisham's novel), as well as a first-rate supporting cast of Gene Hackman, Jeanne Tripplehorn, Ed Harris, Holly Hunter, and Wilford Brimley. Simply put a must-see. Rated R.

SCHOOL TIES ***1/2 Dick Wolf does what Tim Burton did in 'Edward Scissorhands': Recount the painful times he personally experienced through his film. Indeed, there is a certain level of respect one generates for the movie in light of this, but it is hard not to discern where it falters. It features an unexpectedly effective performance by Brenden Fraser as the restless football player with native roots, who hopes to make the big time league, and a poignant one by Chris O'Donnell as the guy who doesn't agree with the religious discrimination Fraser begins to experience once the truth comes out. Other than them, the characters are annoying and repellent, and Wolf takes way too long focusing on the introductory character interplays - where essentially nothing happens - and doesn't ponder enough on the social redemption afterward.

WITNESS **** This film fits Peter Weir's style perfectly. Harrison Ford, as a proficient detective, has to protect the witness, an eight-year-old Amish boy, of the homicide case he's in charge of when the killer (Danny Glover, the ultimate menace) grows wise of the boy existence. As the bad guy's attempt of interrogation gets into the realm of his station, Ford, finding his life in as progressive danger as the boy's, flees with the title character to the Amish village to take shelter. There, he adjusts to his new surroundings, and falls for the boy's sheltered mother (Kelly McGillis); but the hunters aren't giving up their search, and greater suspense is at the heart of what follows.

MEET JOE BLACK ***1/2 Have you ever feared death? What if death came knocking on your door for you? That's the premise of 'Meet Joe Black', a unique, thought-provoking story of an aging businessman (played by Anthony Hopkins) who has grown wise through life's journey, and Death Incarnate, in the form of an Earth-bound man of curiosity (Brad Pitt), dismissing him from his time on Earth. It's a strange thing for both our characters, as Hopkins, now, must say goodbye to his loves, and Pitt starts exploring the enriching human truths that define ideal relationships, particularly that which becomes of his newfound attraction to Hopkins's daughter. An interesting - albeit overdrawn - movie.

HEIGHTS ***** A cross between 'Playing By Heart' and 'The Ice Storm', 'Heights' is a ferociously clever montage of character triumph and fumble, played within an aura of amorality and dark secrecy. Callaborators Chris Turrio and Amy Fox seem to have the simple intention of penetrating an interplay of character dynamic to the audience, making sense and importance out of each scene, and reaching a faithful finale. The film's quasi-surreal blend of musical score (Ben Butler, Martin Erskine) and direction (Turrio) makes the story seem more complicated than it really is because, in truth, the viewer can relate to its societal or interpersonal issues in a degree. The story presents a search one takes in finding something more fulfilling when life has either grown weary or boring. The densely layered characters all have this hunger, with modulated performances that govern the transition between normal thinking and obscure behavior amid their struggles. Within the famous theater actress (Glenn Close), who has skill and a passion for her work, we sense delicate vulnerability due to an impacting marital issue she's facing. Her daughter (Elizabeth Banks) has troubles of her own: Finessing her decisions between the welfare of others and meeting her own needs, particularly in terms of whether to marry a burdened attorney (James Marsden). I don't believe it's a film to take lightly, but it's definitely a rewarding viewing, with accolades deserved by all involved.

THE ASSOCIATE ***1/2 Talented, competent executive Whoopi Goldberg decides to handle business her own way by starting her own Investments company after a nasty team player (Tim Daly) steals her job promotion. The story quickly makes us sympathetic disbelievers in Goldberg's success, however, as female discrimination hinders her from getting clients. What she plans on doing is nothing short of unlikely and strangely entertaining: Making up a wholly fictitious male associate and pretend all of her ideas are his. Her bond with Dianne Wiest, an endearing secretary who eventually starts working for her, enriches their characters as Goldberg finesses between managing her coming-of-renown business now that there is a "man" in charge of the whole thing, and dealing with the anti-feminist preferences of the Investments/Marketing business. When the third act is reached, the star actually has to impersonate the man she has made up...which makes for one of the funniest scenes when sexy stock-broker Bebe Neuwirth tries to seduce "him." Lots of fun.

MISSION: IMPOSSIBLE III **** Improving sequel is taken by a different approach from director- co-writer J.J. Abrams and returning producer-star Tom Cruise and partner Paula Wagner. The story takes on more of 'The Bourne Identity' like, where we have Cruise's Ethan Hunt setting off on a rescue mission for the bulk of the story, and secret mission duties taking second priority. It is to say that this direction right away marks unchartered territory for the 'Mission: Impossible' franchise, making this movie potentially enjoyable as something slightly different. There are break points within the CIA, as some of its affiliated characters aren't whom they appear to be, and Ethan Hunt seeming more emotionally distressed than coolly confident. After rescuing a fellow CIA agent who had been held captive by an evil arms dealer (Philip Seymour Hoffman, sensationally sinister), our crack secret agent has to call on his team of agents to rescue Hoffman's next victim from a dreadful fate. After weighing out the comparisons, I found this sequel to be remarkably satisfying.

THE DEEP END OF THE OCEAN **** Jacqueline Mitchard's bestselling tearjerker is incorporated into this heartfelt, emotional motion picture about losing a loved one, rising above certain challenges from which point, and finally experiencing a saving grace. Ulu Grosbard's cast is exquisite, with Michelle Pfeiffer playing the mother of three kids who attends a high school reunion, and accidentally loses the younger son. A search for the little guy wasn't over for weeks upon weeks, until our family had to face facts that he wasn't coming home. But the most unexpected thing happens about nine years later when a boy comes up to mow the lawn, whom the family believes is the long-lost child. Treat Williams is great as the man-to-lean-on husband who wants to do the right thing. Whoopi Goldberg adds a nice touch as Detective Bliss. Amid its interesting theme, the character dynamic stands out - from how the players respond to each other through the horrific circumstance, to mutually reaching a place of forgiveness and comfort, with each other and in themselves. One of the more rewarding films I've seen lately.

REGARDING HENRY ***** Mike Nichols's genuine little sleeper taps into the humanity in all viewers, who are as eager to see how the story unfolds as the characters themselves. When Henry, an upper-class lawyer, witnesses an armed-robbery, he is left with a critical gun-shot wound that severs his ability to grasp life at the level he used to. When the script essentially has him starting from the beginning - learning to walk, talk, remembering and re-establishing relationships with his wife, daughter, and workplace - his character development takes place. It becomes more and more intriguing as we see a new man unfolding in Henry, someone devoid of a false sense of purpose who ultimately heads away from the Law force, finds meaning within his family, and thereby obtains joy in life. Harrison Ford gives an outstanding, Oscar-caliber performance as our story's central character, who had gone from restrictively loving his career and belongings to apparently loving others more. Annete Bening is commendable as his wife, whose prospective on life changes as we see the unraveling of our hero's "new character." Apart from the film's good-natured, character-driven plot, its premise is quite intriguing in the sense of seeing what lengths it may take for one to realize the finer virtues in life.

THE ICE STORM **** Rick Moody's screenplay seems somewhat pretentious and unstable because its themes (marital issue, promiscuity, adolescence) aren't explored very deeply before it goes on to the next one - making it seem as though all he really wants is to give his characters emotional charge, or lack thereof - and not ending with quite the resolution it needed. However, the basic gist of the story still penetrates through as the film establishes itself, about life in 1973 Conneticut, where the barriers and rifts that form, amoral events that take place, and new facets of life being explored between all of the characters effect each of them differently. All of the events take place over the course of a weekend as an ice storm forms. Rick Moody and Ang Lee, a gifted director, work well together to coat 'The Ice Storm' with plenty of creative elements of film technique, but there just isn't much solid backbone to base it on. Four out of five stars.

ANCHORMAN: THE LEGEND OF RON BURGUNDY **1/2 Set in the 1970s. Anchorman Will Ferrell and his three oddball co-anchors are a TV personality who deliver the news everyday, and the engrossed world seems to adore them. Quite a bit of turbulence escalates when an ambitious female journalist, in the form of Christina Applegate, tries to take command of the anchoring. A feeble story with not much going for it in the believability or character-depth departments, but hey, if you like what some people call "dumb comedies," then it could be for you.

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PAY IT FORWARD ****1/2 'Pay It Forward' accomplishes what few films try doing in the first place: Tapping its characters into harsh realities that they must face and endure without sugar coating it, by which viewers learn the importance of how leaning on others for support can help in real-life situations. Based on the title novel by Catherine Ryan Hyde, this adaptation does not shy away from boldly exploiting a world's evil amid its major premise: A troubled boy (Haley Joel Osment) coming up with a self-effacing idea - a.k.a. "Pay It Forward" - that impacts people of a greater expanse than he may of anticipated. His three "subjects" include a homeless man, his emotionally distraught mom (Helen Hunt), and the teacher who inspired him (Kevin Spacey). The one flat note in Leslie Dixon's screenplay is the not-quite-on-par timeline he incorporates into the story. The lead players are excellent: Spacey, in top form, as the man with a haunting past whom many people can't see behind his scarred face; Hunt, as the sincere but somewhat unbalanced parent who rises to the challenge of truly loving; and Osment, a coming-of-age renown. Don't miss this film in light of its apparent heaviness in plot, because it is a film that enlightens, inspires, and strangely intrigues when given the opportunity.

PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL ****1/2 The film is an explosion of many genres - comedy, action, adventure, horror - that does each one justice. Set decorator Larry Dias and costume designers John Bright, Liz Dann, and Penny Rose do superb work to pull off a 17th century setting where the story's players become pawns in a chess match, and combat rounds, chase sequences, and redeeming efforts set off to make an extremely likable motion picture. Equal effort was given from the director (Gore Verbinski) and the numerous screenplay-writers. Johnny Depp is incredible as Captain Jack Sparrow, a slightly "off" pirate who longs to regain control of his beloved ship that is in the hands of his former disciple (Geoffrey Rush). He sets out to sea with a young blacksmith to take back possession of the ship and to rescue the British governor's daughter, who is held captive on the ship. Only, they find that a haunting curse is bestowed upon its crew. It doesn't take much effort to find something you like within this film, may it be its thundering adventureline, appealing cast, witty dialogue, or visually rich setting. I recommend you try it.

CRASH **** The economical and cultural diversity in a Los Angelos setting, showcasing the reality of it's existence worldwide, is taken to potent levels in Paul Haggis's Oscar-winning monument. You'll recognize familiar faces cast as some of the film's broad range of characters who are either dealing with racist-stricken situations, discovering the importance human decency has on society or becoming aware of the virtues society may seem to miss. It comprises of a couple of the most heart-wrenching, emotional scenes of cinema I have ever witnessed to be honest, and that is partly why I recommend you watch it. Pay attention to all of the story's tidbits, because the story becomes progressively more interesting and stimulating as they are reintegrated. Definitely worth looking into.

SHE'S THE MAN *** It's a movie like 'Raise Your Voice' starring Hilary Duff that is fairly entertaining for no particular reason, outside of the charming likability of the star. In order to pursue her love for the game amidst female discrimination, Viola disguises herself as her twin brother at his school to play big-time soccer when he decides to hit the road to pursue his own dreams. If the situation couldn't get more thicker and complicated, she falls for her roommate, a girl falls for her, and everything else is just as twisted, unlikely, and predictable from there. I have to admit though, it was a fun movie to see with my friends last night, so I'm not discriminating it per se...just not taking it very seriously.

ALWAYS **** The story of a man who dies and comes to grips with having loosened from the ties that had woven his life together through becoming a spiritual entity works well as an effective drama rather than a realistic stab at how one wholly finds closure. The players work well together in director Steven Spielberg's little sleeper which is both lightweight and heartfelt. It is Audrey Hepburn's last film too. Richard Dreyfuss plays a firefighting pilot who dies in the air to save his buddy (John Goodman) from a similar fate. He becomes a guardian angel to a fledging pilot as he tries letting go of his sweetheart (Holly Hunter).

DEAD MAN WALKING **** Recounting the true event, 'Dead Man Walking' is a lace of character and sympathy, societal issue, and spiritual impact. The film follows Sister Helen Prejean (played by Susan Sarandon) as she rises to the challenge of ministering to an inmate (Sean Penn) on death row. How the movie keeps momentum is focusing on the densely layered, emotional - as well as spiritual - relationship between the two leads as Sarandon makes known to Penn the spiritual prospective on life, and Penn deciding how to respond. The sections touching on how national punishment should involve itself in people committing serious felonies is supportive to the theme. The players are well-suited in writer-director Tim Robbins's gripping setting, who also contributes fine work, and the musical score does it justice that much more. A tough subject well told.

BOYS ON THE SIDE **** Herbert Ross's last work, 'Boys On The Side' tells a unique, special story of the bonds between three women as they take a cross-country drive, end up in Nevado, and struggle through hardships, progressively developing in their character. Don Roos's screenplay is coherent and strong enough to make the transitions between the story's funny and dramatic moments smooth and generally effective for that matter. It's moral grounds are a bit too liberalized for my taste.

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MOONSTRUCK ****1/2 Peeking into the lives of a group of Italian-Americans who either recall themselves being love-struck youth some time ago or are currently experiencing it when the moon shines bright. The centerpiece is Cher's character, a Brooklyn bookkeeper, who decides to marry a man but ends up falling for the brother (Nicolas Cage). I enjoyed every minute of it; it's a rare film that seems to go by very quickly because of the top-notch players, engaging character interactions, understated humor, and likable tone.

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FANTASTIC FOUR *** It's not so fantastic. Tim Story's adaptation from the comic book series, where it is all based on, falls short on script and tries to make up for it in special effects and loud scenarios. Mark Frost and Michael France's screenplay explores the characters and their interplays superficially at best, which is a big minus, but there is something that keeps the viewer interested till the end. Scientists who are exploring space are mutated into superhumans - that is, the "Fantastic Four" - and try to make things right again. The story takes an unexpected shift where it spends a lot of time discussing issues of identity, humanity, and unity.

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DAYS OF THUNDER **** Star Tom Cruise teams with director Tony Scott and his collaborators to take their 'Top Gun' tactics to the racetrack, set at the coming of Datona 500. The story's similar to 'Top Gun' in that we have a young, restless racer (Cruise) trying to pass by life by driving fast race cars, and a climactic situation temporarily ending his ability to do it, but 'Days of Thunder' contrasts because it takes a backseat to an engagingly glossier aura to make a more character-driven movie and it's something I appreciate in a degree: It got to be something of its own. Here we also have the racer's coach - a great Robert Duvall - to make Cruise the best racer he can be, antagonistic competitors, and a love interest. In the end, both 'Days of Thunder' and 'Top Gun' are good, just different.