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Reviews
Kissed (1996)
Rather Kiss My Sister
This is quite possibly the most pretentious film ever made. The narrative isn't much to pucker up to, it's basically about a young woman who likes to have sex with dead guys (reverse that premise and obviously you wouldn't get the funding). In what has to be as unbelievable a relationship as you'll find on screen, she meets a loser guy at a coffee shop and guess what - eventually he has to kill himself in order to get her to have sex with him. I think. Some Canadian critics said good things about this unwatchable flick, which only goes to show you how politically motivated and pretentious some Canadian critics can be; oh, it also says what lousy reviewers they are. As far as I can discover though, virtually nobody in the movie going public has actually sidled up next to KISSED and watched it, an enormous group of people you are hopefully part of. Stick with 'em.
Seabiscuit (2003)
Ambitious Horse
Director Gary Ross clearly wanted this movie to tell the story of the time in which the great Seabiscuit ran almost as much as he wished to tell the story of the horse itself; indeed, to him it would seem the two stories are inseperable. That's laudable and though at times some of the scenes that focus on and tell us about the epoch the horse ran in don't jell with the ones they sit between, I nonetheless appreciated getting that sense of those years. It's unfortunate that in a linear manner, this story, the real one, which they seemingly slavishly stuck to, has some dramatic moments in places that don't serve films well. It seems like the movie is over, for example, when Toby Maguire is hurt, replaced by another jockey, and then they win the big challenge race anyhow. But it lunges forward from that for another 30 minutes before ending with stuff that is not nearly as dramatic or interesting as the stuff surrounding the challenge race was. Also, knowing horse racing a bit, did they really need to have extended dialogue with the jockeys during races? It don't happen, sure a few words here and there but riding a thoroughbred race horse is a tough, dangerous and physically demanding job and you don't got time for anything resembling real conversation. And no jockey is gonna be off for a year or more and then ride in a huge race for BIG money with no other races to get him back into riding shape mentally and physically; to expect us to believe that is a real big stretch. The acting isn't bad but both Bridges and Maguire seem hardly needed, there's not much room for them to shine. Chris Cooper, on the other hand, is wonderful, he's understated and strong, with loads of integrity. Seabiscuit on the whole is a wonderful story about a wonderful horse in a difficult time that, against big odds, triumphs over a lot of adversity. I can see why Ross wanted to marry that story with the time in which Seabiscuit ran, and that decision alone makes the movie worth seeing.
Class Action (1991)
Not Much Action
There are three great actors in this film, Hackman, Mastrantonio and Laurence Fishburne, and they alone make it worth watching. There just isn't enough excitement in the plot, about a father and daughter squaring of as lawyers on opposing sides of a class action lawsuit, and its as if the writer mailed in his contribution along with Michael Apted, the director. Neither of them seemed to be excited to do the work and consequently it's hard to get very excited viewing it. I wouldn't recommend it because there is so much else out there that has more to offer in the way of stakes and excitement. The truth is I can hardly find the motivation to write about it. Not even a rental.
Sweet and Lowdown (1999)
Sweet and High-up
This is somehow warmer than other of his films, though that is a characteristic many of his movies share. It took me a few scenes to really latch on to Sean Penn as a virtuoso jazz guitarist, but the actor and the script took me there gradually and once bitten I didn't wanna be let go. As a musician who is heralded by all but, clearly, himself, Penn excels in a role that is very offbeat for him; clearly a challenge he could not run from taking. Enormous pathos in the scene in bed with Hattie where he talks about his mother and father and the scene manages to be funny, too. Samantha Morton as Hattie was tremendous, supplying a good deal of the films warmth herself. Little touches like her eating desserts and his fear of Django Reinhardt, as with all films by The Woodman, take this movie from brilliant to sublime. The ending had so many wonderful elements to it, it left me hoping he could find a way to get back to a simple life with someone good. Overall, it's a sweet and, on the 'good movie scale', a very high-up film.
The Perfect Storm (2000)
Storm In A Teacup
This is a film that is pretty much wrapped up in the title and you should know going in what you're paying for - a storm. The visuals are very good and the acting is very much okay while the story and character development are very much missing. But, again, it's about the storm and it's exciting enough that, well, it's sorta worth the money. True, I often couldn't hear what they were saying and I left feeling something was missing, but it's entertaining enough that I wasn't sorry I went. This storm is floating on a pretty predictable if raging sea so, well, don't expect to get swept away.
Tail Lights Fade (1999)
Not Too Faded
This is not a great film but it clips along and is pretty entertaining. It was made here in Vancouver, probably cheaply, and it has some nice scenery and good acting. Jake Bussey is lively and Denise Richards is great to look at and the supporting actors, including Jaimz Woolvet from 'Unforgiven' are good and often quite funny. It has a plot and some hip references and I would certainly recommend this film, in particular to anyone who likes road movies.
Matewan (1987)
Sold on Sayles
John Sayles consistently makes intelligent, meaningful films that also happen to be compelling and Matewan is one of his best. Without knocking you over the head he shows how awful some periods in American history were and how nobly some people fought against the times; this film shows that perhaps better than any of his others. The acting is superb with Chris Cooper, surely one of America's most underrated actors (brilliant in 'American Beauty'), James Earl Jones, David Strahairn and a wonderful supporting ensemble. Another good thing about this film: if you got some anti-union redneck in your family show them 'Matewan' and if they're still ranting about unions then they truly don't have a heart and you can show them the door.
Jagged Edge (1985)
Sagged Edge
I viewed this film for the first time in the year 2000 and, well, whatever it viewed like when it was made the ensuing 15 years cannot of helped. They didn't work for the romance aspect of it and when you throw out that you've got little left but a second rate t.v. courtroom drama. In the end the killer could have been anyone of three and, frankly, I didn't much care which of them stepped up to the plate. Bland, not at all compelling and without any performances worthy of note save, perhaps, supporting actor Robert Loggia, this Edge sags and is best avoided altogether. You'd be better off watching a rerun of 'The Practice'anyhow.
The Cider House Rules (1999)
John Irving Rules
John Irving has done a superb job of adapting his own novel to the screen and it is a highly recommended film. He's wisely left out an entire character, cut down the importance of two and significantly changed the function of another; he also dramatically altered the time line of the story. All of these changes and more are to great effect and it is very much a lesson in the different needs and strengths of a novel and a film. The cast is superb, all of them, the direction is assured and warm and the scenery is lovely. Cider House Rules is well crafted from all angles and it manages to be highly compelling while at the same time it has a heart. Indeed, this story was even more successful a rendering of the source material than the strong film 'Simon Birch' was of the novel "Owen Meany' and clearly John Irving now rules on the screen and on the written page.
Reindeer Games (2000)
Too Much Of Not Enough
This is a action movie that is passable for the two hours or so required to view it, but it is hardly a major contribution to the world of film. Ben Affleck is good but hardly great, the character actors are great, especially Clarence Williams the third, but the manner in which they are used is merely good. The script? A not very plausible ending and some twists that are not organic to the plot - things often happen because the writer wants them to, not because they come out of what went before - make the script, again, no more than good. It's trying to be hip like a 'Usual Suspects' and winds up more like 'Unusual and Suspect.' This is a game you should play at home - in other words, it's a rental.
The Beach (2000)
critics attack The Beach like sharks
There are certainly some confusing elements to The Beach and, in it's ambition to acheive more than mere entertainment, it occasionally loses it's head of steam. However, the film nonetheless has a number of things going for it, not the least of which are the actors, the locations and the wonderful homage it pays to a number of films from the past, including Lord of the Flies and Appocolypse Now. And that doesn't mean the film is lacking story, it's got more than enough of that to sustain interest over two hours.
I have been surprised to note that many critics have attacked the movie and I can't help but think this is largely because they don't like Leo, perhaps feeling a male hero must surface only in the mold of a Bruce Willis or Harrison Ford. I'm glad to see the sensitive guy get a chance and, Roger Ebert's approval or not, Leo is compelling and believable.
It's not a great movie but it's a real good one and if you wanna go on a trip for two hours I'd certainly reccomend you head for The Beach.
City Hall (1996)
hello...is anyone else confused???
The film tries too much and manages only to be a combination of earnest and confusing. Both Pacino and Cusack are fighting hard for something but it's difficult to find much in the way of stakes in most of what is going on, with the result that they both end up looking like so much ado about nothing. Bridget Fonda is totally lost and manages only to portray her character as dull, more the fault of the script than the actor. There's some nice character work, such as that of Richard Schiff, now getting well deserved kudos on 'The West Wing', and another veteran, Mel Winkler. Finally, it's a mystery why everything is so darkly lit. Maybe on some subconscious level the cinimatographer didn't want us to see what was going on. After all, he may have reasoned that we weren't about to understand it anyhow.