Legally Blonde 2: Red, White and Blonde (MGM) I was expecting a terrifying existence for the next 2 hours as I walked into the theatre. The first movie was fun, but it didn't ask to be much more than that, so I swallowed it for what it was: Entertainment. But when I heard that a sequel is in the works, I cringed, as always. You can't help but recoil when you hear of a box office hit that everyone is trying to cash in on by making a sequel (think: Terminator 3, which I'm going to do plenty of trembling over when I see it this Monday). But what we get with Legally Blonde 2 is an offspring that is worthy of its parent. It is a fun movie-going experience, which ensures that pink remains in fashion. LB2 manages to be fresh, inventive, and exciting, all while leaning on the old style that made the first film a hit. This time around Elle Woods, a rising young lawyer at a major firm, finds out that her beloved dog Bruiser's mother is being used as a cosmetic test subject by her firm's own clients. She decides to speak for those who cannot speak for themselves and stands up for their rights -- and is fired. Never one to resign from a challenge, Woods packs her stiletto hills and heads over to Washington. There adventures ensue. While not of the most thought-provoking film genre, Legally Blonde 2 is a fun way to spend an evening, whether you are surrounded by blondes or brunettes. The film stars Reese Witherspoon, Luke Wilson, Sally Field, Bob Newhart and Jennifer Coolidge. Note: The costume designer for this movie is impeccable! Stunning, even for a brunette. 3/4
Reviews
9 Reviews
A Breathtaking Adventure!
27 June 2003
Sinbad: Legend of the Seven Seas (Dreamworks SKG) This film I could hardly contain my excitement for. With a terrific cast, consisting of Catherine Zeta-Jones as Marina, Brad Pitt as Sinbad, Michelle Pfeiffer as Eris, and Ralph Fiennes as Proteus, I was high with anticipation. The plot revolves around an Arabian pirate and adventurer (Sinbad) who must return the Book of Peace (a magical book that keeps the Twelve Cities safe from harm) in order to save his friend Proteus. It doesn't help that Sinbad is a pirate who doubts his heart and is constantly being lured into traps by Eris, the Greek goddess of Chaos. Not quite fully a kid's movie, and not quite one geared towards adults, SINBAD is universal enough to appeal to both categories. All of the characters are rich, exciting and innovative. The animation is breathtaking, as is the vision. And beyond the overriding adventure, it is also a tale of courage, friendship, love, trust and passion. It is as old-fashioned a tale as any, but who says that this is such a bad thing? 3.25/4
Road to Perdition
(2002)
A haunting symphony for the mind, and soul!
8 July 2002
Warning: Spoilers
Spoilers
[He prays at dinner and kills at dawn. Do you love such a man? This man is your father...]
This is only one of the themes that "Road to Perdition" explores in each thought-provoking scene. With its poetic cinematography, haunting story and intriguing characters, "Road to Perdition" is, from start to finish, a spectacular filmmaking effort by everyone involved.
In Depression-era Chicago, Michael Sullivan (Tom Hanks) is a hit man, working for crime boss John Rooney (Paul Newman), a man who is like a father to Sullivan. This is to the great dismay of Connor (Daniel Craig), Rooney's real son. Michael's family consists of a loyal wife, Anne (Jennifer Jason Leigh) and two young sons. The eldest, 12 year-old Michael Jr. (Tyler Hoechlin) has a rather "different" relationship with his dad and feels that his father loves his younger brother more.
One night, Michael Jr., curious what his father does for Mr. Rooney, sneaks into his dad's car and witnesses a man's murder. To make sure that the boy keeps his mouth shut, a hit man targets the family killing Annie and the youngest son. He succeeds in causing chaos and grief, but misses his main targets, Michael Sr. and Jr. To protect his son and to revenge the deaths of his youngest son and wife, Michael Sr. hits the road to Perdition, a word with two meanings. On the surface Perdition is a small town where the boy's aunt resides, but perdition also means the utter loss of the soul, eternal damnation and hell. When a perverted hitman/photographer (Jude Law) is unleashed on the father/son duo, the safety of their trip is jeopardized.
David Self's screenplay is based on Max Allan Collin's graphic novel. The screenplay contains dark knots, breathtaking dialogue and chilling portraits of crime figures. Perhaps inspired by the graphic nature of the novel, master cinematographer Conrad Hall scrupulously designed each shot to look like a painting. The palette is muted with a monochromatic look, and characters are dressed in dull, grave clothes (designed by Albert Wolsky) to echo the dark period of the 1931 depression. Thomas Newman's music is also effective in underlining the themes.
One of the film's greatest virtues is its cast. Tom Hanks does an amazing job, playing Michael as dark and complex as possible. You can feel his moral struggle which he expresses quite often without words. It's impossible to look at Tom Hanks without having a "nice-guy" image flash (simply because that's the kind of a guy that he is), however despite this, we never doubt that Michael Sullivan has killed. Hank's oldest son, newcomer Hoechlin, proves to be a match on-screen. Hoechlin gives a subtle and refreshingly natural performance. During one scene when his character finds his mother and brother dead, his reaction is distinct, he does not cry. Only later does he allow tears to roll mercilessly.
Another father/son duo is composed of Paul Newman and Daniel Craig. Newman dominates scenes physically as well as verbally. Newman plays Looney with power, extensive detail and with a subtle hint of vulnerability. In Newman's own words, "A nice guy, who's a killer." His onscreen son, played by Craig, portrays Connor as sly, devilish, charming, sad and hurt in a very memorable, very real performance.
One actor that doesn't seem capable of giving a poor performance is Oscar Nominee Jude Law (The Talented Mr. Ripley, Enemy of the Gates, AI). Without exception Law take another strong turn here. Director Sam Mendes exploits Law's unique qualities, creating an extremely creepy vision of a hit man who "photographs" his victims. Jennifer Jason Leigh as Annie Sullivan and Stanley Tucci as Frank Nitti also add much oomph to the supporting cast.
Mendes makes sure to make the film as visually dynamic as possible. While some of the scenes may go on for some time without action, the images pose a somewhat poetic dialogue. As a director Mendes had to make many choices. He does a good job of surrounding the incredible performances with jarring scenery. As for deciding the moral fate of his tale, it is the scenes that invoke a response. The scenes are vivid and sincere. They challenge the audience from one moment to the next.
What is also nice about this film is that it does not glorify gangsters in any way. And although "Road to Perdition" is rated R, it doesn't use unnecessary violence. It is only shown when such blood-shed contributes to the plot or emotional impact.
"Road to Perdition," essentially a film about a man whose soul is beyond saving, but still has a chance to save his son's, could very well be the fourth Best Picture in a row for Dreamworks. The entire piece blends in as a haunting symphony and it haunts the mind, as well as the soul.
[He prays at dinner and kills at dawn. Do you love such a man? This man is your father...]
This is only one of the themes that "Road to Perdition" explores in each thought-provoking scene. With its poetic cinematography, haunting story and intriguing characters, "Road to Perdition" is, from start to finish, a spectacular filmmaking effort by everyone involved.
In Depression-era Chicago, Michael Sullivan (Tom Hanks) is a hit man, working for crime boss John Rooney (Paul Newman), a man who is like a father to Sullivan. This is to the great dismay of Connor (Daniel Craig), Rooney's real son. Michael's family consists of a loyal wife, Anne (Jennifer Jason Leigh) and two young sons. The eldest, 12 year-old Michael Jr. (Tyler Hoechlin) has a rather "different" relationship with his dad and feels that his father loves his younger brother more.
One night, Michael Jr., curious what his father does for Mr. Rooney, sneaks into his dad's car and witnesses a man's murder. To make sure that the boy keeps his mouth shut, a hit man targets the family killing Annie and the youngest son. He succeeds in causing chaos and grief, but misses his main targets, Michael Sr. and Jr. To protect his son and to revenge the deaths of his youngest son and wife, Michael Sr. hits the road to Perdition, a word with two meanings. On the surface Perdition is a small town where the boy's aunt resides, but perdition also means the utter loss of the soul, eternal damnation and hell. When a perverted hitman/photographer (Jude Law) is unleashed on the father/son duo, the safety of their trip is jeopardized.
David Self's screenplay is based on Max Allan Collin's graphic novel. The screenplay contains dark knots, breathtaking dialogue and chilling portraits of crime figures. Perhaps inspired by the graphic nature of the novel, master cinematographer Conrad Hall scrupulously designed each shot to look like a painting. The palette is muted with a monochromatic look, and characters are dressed in dull, grave clothes (designed by Albert Wolsky) to echo the dark period of the 1931 depression. Thomas Newman's music is also effective in underlining the themes.
One of the film's greatest virtues is its cast. Tom Hanks does an amazing job, playing Michael as dark and complex as possible. You can feel his moral struggle which he expresses quite often without words. It's impossible to look at Tom Hanks without having a "nice-guy" image flash (simply because that's the kind of a guy that he is), however despite this, we never doubt that Michael Sullivan has killed. Hank's oldest son, newcomer Hoechlin, proves to be a match on-screen. Hoechlin gives a subtle and refreshingly natural performance. During one scene when his character finds his mother and brother dead, his reaction is distinct, he does not cry. Only later does he allow tears to roll mercilessly.
Another father/son duo is composed of Paul Newman and Daniel Craig. Newman dominates scenes physically as well as verbally. Newman plays Looney with power, extensive detail and with a subtle hint of vulnerability. In Newman's own words, "A nice guy, who's a killer." His onscreen son, played by Craig, portrays Connor as sly, devilish, charming, sad and hurt in a very memorable, very real performance.
One actor that doesn't seem capable of giving a poor performance is Oscar Nominee Jude Law (The Talented Mr. Ripley, Enemy of the Gates, AI). Without exception Law take another strong turn here. Director Sam Mendes exploits Law's unique qualities, creating an extremely creepy vision of a hit man who "photographs" his victims. Jennifer Jason Leigh as Annie Sullivan and Stanley Tucci as Frank Nitti also add much oomph to the supporting cast.
Mendes makes sure to make the film as visually dynamic as possible. While some of the scenes may go on for some time without action, the images pose a somewhat poetic dialogue. As a director Mendes had to make many choices. He does a good job of surrounding the incredible performances with jarring scenery. As for deciding the moral fate of his tale, it is the scenes that invoke a response. The scenes are vivid and sincere. They challenge the audience from one moment to the next.
What is also nice about this film is that it does not glorify gangsters in any way. And although "Road to Perdition" is rated R, it doesn't use unnecessary violence. It is only shown when such blood-shed contributes to the plot or emotional impact.
"Road to Perdition," essentially a film about a man whose soul is beyond saving, but still has a chance to save his son's, could very well be the fourth Best Picture in a row for Dreamworks. The entire piece blends in as a haunting symphony and it haunts the mind, as well as the soul.
Behind the Sun
(2001)
Very interesting elements, but don't expect sparks to fly!
4 July 2002
The latest Miramax export is "Behind the Sun," a Brazilian film from Oscar-nominated "Central Station's" director Walter Salles. Despite its native tongue, the filmmaking aspects of "Sun" speak the universal language of love, life and family. It's lyrical and melancholy, despairing and hopeful all at the same time. It's the stuff that movies are made of, yet something is missing. Unfortunately the film is restricted by poor dynamics, odd choices and a story that is simply not relevant to today's audience.
The film takes place in 1910 Brazil, in the middle of nowhere. Two sons from the Breves family harvest and grind sugarcane at the fierce commend of their father (José Dumont) in order to survive. Meanwhile, a generations-long blood feud is going on between the the Ferreiras and Breves family over a disagreement in regards to land. The rules of the feud pass from one generation to the next. First a Ferreira man kills a Breves man, then this is followed up by revenge from the Breves family and so on. When someone from either family has been killed, his blood-stained shirt is left out in the sun to dry till it turns yellow, until it does so there is truce.
"An eye for an eye - Till everyone is blind," best describes the film's sentiment. It's a line that is introduced to us by the impressive young narrator of the film, Pacu "the Kid" (Ravi Ramos Lacerda) of the Breves family. Pacu knows that his older brother Tonio (Rodrigo Santoro) will be killed as quickly as time ticks away, the bloody-shirt changes color and the film's end credits roll.
Meanwhile, the circus passes through town and both brothers are thrust into a ring of passion. Pacu is introduced to books and imagination, while Tonio meets the fire-breathing star of the circus and is overcome by love. However, while we see the physical sparks, the emotional sparks fail to ignite. There is no indication as to why the couple is so attracted to each other. After all, they hardly talk to each other.
What really stands out in the film, are the shots. Walter Salles takes a somewhat poetical approach. Each scene is artfully directed. He uncovers the picture, he shows instead of telling. That's something that many recent US directors can take lessons on. Something that's also very interesting is the way the camera plays with our imagination. We keep guessing about each movement. In a sense, we're the hunted. It's unfortunate that Salles hasn't quite mastered dynamics well enough. He exhibits a gift for magically capturing our attention during certain moments, yet he lets that magic escape too often into a vessel for boredom.
The actors are also quite impressive here. Their facial expressions are strong enough to compensate for our ignorance of the Brazilian language. Rodrigo Santoro is especially successful in doing this. In the end though, it's really the youthful Ravi Ramos Lacerda that ignites sparks with his acting charms throughout the movie.
"Behind the Sun" won't leave you hot, but it won't burn you either. It's worthy of viewing due to some interesting acting and directing, but don't expect sparks to fly.
Grade: B
The film takes place in 1910 Brazil, in the middle of nowhere. Two sons from the Breves family harvest and grind sugarcane at the fierce commend of their father (José Dumont) in order to survive. Meanwhile, a generations-long blood feud is going on between the the Ferreiras and Breves family over a disagreement in regards to land. The rules of the feud pass from one generation to the next. First a Ferreira man kills a Breves man, then this is followed up by revenge from the Breves family and so on. When someone from either family has been killed, his blood-stained shirt is left out in the sun to dry till it turns yellow, until it does so there is truce.
"An eye for an eye - Till everyone is blind," best describes the film's sentiment. It's a line that is introduced to us by the impressive young narrator of the film, Pacu "the Kid" (Ravi Ramos Lacerda) of the Breves family. Pacu knows that his older brother Tonio (Rodrigo Santoro) will be killed as quickly as time ticks away, the bloody-shirt changes color and the film's end credits roll.
Meanwhile, the circus passes through town and both brothers are thrust into a ring of passion. Pacu is introduced to books and imagination, while Tonio meets the fire-breathing star of the circus and is overcome by love. However, while we see the physical sparks, the emotional sparks fail to ignite. There is no indication as to why the couple is so attracted to each other. After all, they hardly talk to each other.
What really stands out in the film, are the shots. Walter Salles takes a somewhat poetical approach. Each scene is artfully directed. He uncovers the picture, he shows instead of telling. That's something that many recent US directors can take lessons on. Something that's also very interesting is the way the camera plays with our imagination. We keep guessing about each movement. In a sense, we're the hunted. It's unfortunate that Salles hasn't quite mastered dynamics well enough. He exhibits a gift for magically capturing our attention during certain moments, yet he lets that magic escape too often into a vessel for boredom.
The actors are also quite impressive here. Their facial expressions are strong enough to compensate for our ignorance of the Brazilian language. Rodrigo Santoro is especially successful in doing this. In the end though, it's really the youthful Ravi Ramos Lacerda that ignites sparks with his acting charms throughout the movie.
"Behind the Sun" won't leave you hot, but it won't burn you either. It's worthy of viewing due to some interesting acting and directing, but don't expect sparks to fly.
Grade: B
Life or Something Like It
(2002)
Won't change your life or your mood...
4 July 2002
If one is asked to sit through 99 minutes of a film that ponders, "Living every day as if it were your last," then the film should at least deliver a fresh prospective on this overdone topic. If it fails to do that, perhaps a character that the audience would care about is in order. Life Or Something Like It fails to do both.
Lanie Kerrigan (Angelina Jolie) is a local Seattle news reporter who is being considered for posh job in New York, for "AM USA." She must first prove herself in the field by working with Pete, an experienced cameraman (Edward Burns) whom she supposedly hates. When the ambitious reporter interviews a homeless prophet, he announces that the blonde reporter will die within a week. Once all of his other predictions come true, Jolie's character begins to realize that she is in fact going to die. As Thursday (D-day) quickly approaches, the reporter re-evaluates her own life.
The premise of the film is a little interesting at first. Sure, it has been done over and over again, but various interpretations have their own charm and there is room for more. However the development of the plot is just too obvious and there is nothing new, nor is anything portrayed in a very intriguing way.
While Life was marketed as a light comedy, it is anything but. Comedy would have been a much better direction for the filmmakers, however aside from a few jokes on the sidelines, the film takes itself very seriously. The tone of the script is confused. It's similar to A Knight's Tale which also tried to hopelessly shift between drama and comic relief. In the end, we end up with a picture that doesn't work as a drama or a comedy. Throughout the film, it feels as though the filmmakers kept changing their minds.
Unfortunately the confusion is not the only self-destructive component in the movie. The character development also does the job fairly well. Jolie shows Lanie's ambition sufficiently, but the movie suggests that there is more wrong with her life than a little healthy competition. It seems ridiculous that a person whose real tough faults we haven't seen is trying to change her ways. The movie seems to artificially pull Lanie into changing, instead of using character development as cause for such an evolution. Lanie changes at the end, but the question, "why?" remains. Pete's relationship with Lanie also seems forced. Pete flashes randomly throughout the movie, cueing Lanie's unfolding.
Edward Burns carries his role well enough, but unfortunately there isn't much to carry. Angelina Jolie just doesn't seem to fit into this role and while she is a talented actress, there is something very odd about her in Life. In fact, Tony Shalhoub is the only actor who remotely stands out in this movie. Although his dialogue follows the same scripted fate as the others, Shalhoub manages to express with his voice and facial expression much more than the script actually inhibits.
The script doesn't allow the audience to care much for any of the characters, doesn't contain a single original idea and tends to push ideas aggressively instead of allowing the audience to discover them. The script also leaves off various unresolved mysteries, most of which only seem to act as space fillers. The filmmakers take us towards one direction and back off immediately afterwards. Maybe they forgot? Considering the pacing, most of the audience did too.
Life Or Something Like It is comparable to one scene where Lanie's soon to be ex-boyfriend, Cal, takes Lanie to a ballpark in the middle of the night to throw a few pitches after a heart-to-heart talk. Lanie expects Cal to have some words of wisdom for her, or at least charm - but doesn't catch anything except the ball. Life Or Something Like It won't change your life and it won't change your mood either.
If you need to kill time, see the movie - But what if today is the last day of your life?
Grade: D
Lanie Kerrigan (Angelina Jolie) is a local Seattle news reporter who is being considered for posh job in New York, for "AM USA." She must first prove herself in the field by working with Pete, an experienced cameraman (Edward Burns) whom she supposedly hates. When the ambitious reporter interviews a homeless prophet, he announces that the blonde reporter will die within a week. Once all of his other predictions come true, Jolie's character begins to realize that she is in fact going to die. As Thursday (D-day) quickly approaches, the reporter re-evaluates her own life.
The premise of the film is a little interesting at first. Sure, it has been done over and over again, but various interpretations have their own charm and there is room for more. However the development of the plot is just too obvious and there is nothing new, nor is anything portrayed in a very intriguing way.
While Life was marketed as a light comedy, it is anything but. Comedy would have been a much better direction for the filmmakers, however aside from a few jokes on the sidelines, the film takes itself very seriously. The tone of the script is confused. It's similar to A Knight's Tale which also tried to hopelessly shift between drama and comic relief. In the end, we end up with a picture that doesn't work as a drama or a comedy. Throughout the film, it feels as though the filmmakers kept changing their minds.
Unfortunately the confusion is not the only self-destructive component in the movie. The character development also does the job fairly well. Jolie shows Lanie's ambition sufficiently, but the movie suggests that there is more wrong with her life than a little healthy competition. It seems ridiculous that a person whose real tough faults we haven't seen is trying to change her ways. The movie seems to artificially pull Lanie into changing, instead of using character development as cause for such an evolution. Lanie changes at the end, but the question, "why?" remains. Pete's relationship with Lanie also seems forced. Pete flashes randomly throughout the movie, cueing Lanie's unfolding.
Edward Burns carries his role well enough, but unfortunately there isn't much to carry. Angelina Jolie just doesn't seem to fit into this role and while she is a talented actress, there is something very odd about her in Life. In fact, Tony Shalhoub is the only actor who remotely stands out in this movie. Although his dialogue follows the same scripted fate as the others, Shalhoub manages to express with his voice and facial expression much more than the script actually inhibits.
The script doesn't allow the audience to care much for any of the characters, doesn't contain a single original idea and tends to push ideas aggressively instead of allowing the audience to discover them. The script also leaves off various unresolved mysteries, most of which only seem to act as space fillers. The filmmakers take us towards one direction and back off immediately afterwards. Maybe they forgot? Considering the pacing, most of the audience did too.
Life Or Something Like It is comparable to one scene where Lanie's soon to be ex-boyfriend, Cal, takes Lanie to a ballpark in the middle of the night to throw a few pitches after a heart-to-heart talk. Lanie expects Cal to have some words of wisdom for her, or at least charm - but doesn't catch anything except the ball. Life Or Something Like It won't change your life and it won't change your mood either.
If you need to kill time, see the movie - But what if today is the last day of your life?
Grade: D
Picks you up from the get go and doesn't let you down
4 July 2002
It may very well be true that we no longer have Victorian values of which the films makes a mockery, however a story that's truly good is timeless. Oscar Wilde is timeless and so is this movie. The Importance Of Being Earnest picks you up from the get go and doesn't let you down.
The Importance Of Being Earnest, which is based on the famous play by the same title, takes place in 1980's England. The film follows Jack Worthing (Colin Firth), a wealthy young bachelor who resides in the country with a young ward named Cecily (Reese Witherspoon) while making trips as often as possible to London. Such trips are excused by Jack's invention of an ill behaved younger brother named Earnest. In London Jack is joined by an amigo by the name of Algie (Rupert Everett), a gentleman bachelor of equal (if not exceeding) disrepute. Algie's cousin, Gwendolen (Francis O'Connor) proves to be the object of Jack's affection, however she too loves him - as Earnest. Sounds like bliss, however Gwendolen's mother, Lady Bracknell (Judi Dench) refuses to allow Jack's (or Earnest, as they know him) hand in marriage due to his mysterious parental origins.
What ensues further is a hilarious tale of mistaken identity. Algie arrives in Jack's country manor and pretends to be Jack's brother Earnest in order to meet Cecily and falls for her. Meanwhile Jack awaits Gwendolen's arrival. They can't both be Earnest...
Director Oliver Parker does justice to Oscar Wilde's play. He takes the play and transforms it to the screen flawlessly. He uses the format of the screen, rather than just transforming the play directly. There is a series of imaginative flashes and musical interludes which blend well. The job of a director is to take the words of a playwright and imagine them. This is something that a true director must do. Parker has a clear vision and follows through it.
The more technical aspects of the film help create an atmosphere that is essential to the viewers emotional involvement in the film. What stands out the most in terms of technical accomplishments is the lighting. It actually communicates visual ideas and makes the picture jump out of the scene. The great period costumes, make up artistry and cinematography all really help the picture come alive. If it weren't for the warm and intimate nature of these elements, the viewer would have felt quite isolated from the picture as a whole.
The cast is probably the greatest attraction to the film. The cast includes some extremely respectable and often colorful personas. Tom Wilkinson as Reverend Canon Chasuble, Firth, Everett, Witherspoon, Dench and O'Connor, all turn in decent performances. This is not the most difficult task however, considering the strong humorous text and interesting character. The greatest chemistry is between Colin Firth and Rupert Everett who exchange an ample of witty remarks in their dialogue. Earnest reunited Everett and Parker who have previously partnered on a different Wilde adaptation, A Perfect Husband. From Everett's work here, it's easy to see why the director chose to follow up with him.
The Importance Of Being Earnest is mostly a delightful film to watch on the big screen. The setting, the cinematography, the director and the cast all put on a delightful adaptation of Oscar Wilde's play. Although this film is quite well done, unfortunately it's not exceptional. It's a pretty standard Hollywood movie, with interesting bits and battles of the wits here and there. You'll laugh, you'll gasp, you'll delight and you'll go home feeling happy. What more can you ask for?
B+
The Importance Of Being Earnest, which is based on the famous play by the same title, takes place in 1980's England. The film follows Jack Worthing (Colin Firth), a wealthy young bachelor who resides in the country with a young ward named Cecily (Reese Witherspoon) while making trips as often as possible to London. Such trips are excused by Jack's invention of an ill behaved younger brother named Earnest. In London Jack is joined by an amigo by the name of Algie (Rupert Everett), a gentleman bachelor of equal (if not exceeding) disrepute. Algie's cousin, Gwendolen (Francis O'Connor) proves to be the object of Jack's affection, however she too loves him - as Earnest. Sounds like bliss, however Gwendolen's mother, Lady Bracknell (Judi Dench) refuses to allow Jack's (or Earnest, as they know him) hand in marriage due to his mysterious parental origins.
What ensues further is a hilarious tale of mistaken identity. Algie arrives in Jack's country manor and pretends to be Jack's brother Earnest in order to meet Cecily and falls for her. Meanwhile Jack awaits Gwendolen's arrival. They can't both be Earnest...
Director Oliver Parker does justice to Oscar Wilde's play. He takes the play and transforms it to the screen flawlessly. He uses the format of the screen, rather than just transforming the play directly. There is a series of imaginative flashes and musical interludes which blend well. The job of a director is to take the words of a playwright and imagine them. This is something that a true director must do. Parker has a clear vision and follows through it.
The more technical aspects of the film help create an atmosphere that is essential to the viewers emotional involvement in the film. What stands out the most in terms of technical accomplishments is the lighting. It actually communicates visual ideas and makes the picture jump out of the scene. The great period costumes, make up artistry and cinematography all really help the picture come alive. If it weren't for the warm and intimate nature of these elements, the viewer would have felt quite isolated from the picture as a whole.
The cast is probably the greatest attraction to the film. The cast includes some extremely respectable and often colorful personas. Tom Wilkinson as Reverend Canon Chasuble, Firth, Everett, Witherspoon, Dench and O'Connor, all turn in decent performances. This is not the most difficult task however, considering the strong humorous text and interesting character. The greatest chemistry is between Colin Firth and Rupert Everett who exchange an ample of witty remarks in their dialogue. Earnest reunited Everett and Parker who have previously partnered on a different Wilde adaptation, A Perfect Husband. From Everett's work here, it's easy to see why the director chose to follow up with him.
The Importance Of Being Earnest is mostly a delightful film to watch on the big screen. The setting, the cinematography, the director and the cast all put on a delightful adaptation of Oscar Wilde's play. Although this film is quite well done, unfortunately it's not exceptional. It's a pretty standard Hollywood movie, with interesting bits and battles of the wits here and there. You'll laugh, you'll gasp, you'll delight and you'll go home feeling happy. What more can you ask for?
B+
Windtalkers
(2002)
Portrays the horrors of the Pacific battles vividly...
4 July 2002
There are two things that a person can do in the face of evil; overcome it, or join it. John Woo's latest epic, Windtalkers brings to the screen a story that's inspired by true events where humanity faces such a challenge. The movie captures the horrors of humanity in the face of war. Make no mistake, war wears a human face. It's just not humane.
During World War II, encrypted communication was a strategic key in the U.S. struggle to beat the Japanese. The United States used the Navajo Code Talkers, or "windtalkers" and their language since it provided the most secure method of communication in their operations in the Pacific. Two U.S. Marines (Nicolas Cage, Christian Slater) are assigned to protect the Navajo Marines. More so, they are assigned to "protect the code at all costs." This means that if they are to face possible capture on Japanese soil, the two U.S. Marines must kill their windtalkers.
Straight away limbs, feet, hands and heads are chopped off and blown apart mercilessly right in front of your very eyes. You also see Nicolas Cage shouting in agony due to the death of his friend, while bullets mysterious ly stop. The atmosphere of the fighting sequences in the film is established greatly through sound. If this film deserves an Oscar in one department, that's sound. The sound creates a sensation of tremendous realism. The bullets seem to whizz past you at rapid speeds and at times you can't help but wonder if they hit the person sitting behind you. Then you realize that you're the one who's been hit. Or so the sound suggests.
"Windtalkers" portrays the horrors of the Pacific battles vividly and no side seems right as long as they have a gun in their hand. The movie is filled of disturbing scenes of mankind at its worst. T.S. Elliot's "The Hollow Man" is about men who believe in nothing. The Marines appear at a position of reasonable comparison with such hollow men. Often they do not know what they believe in, so they believe in nothing. At many times, not even life.
Such men are represented by fairly talented cast members. Nicolas Cage and Christian Slater do a very decent job. This is not the best performance of their career, but nevertheless a solid one. They both capture the essence of the two characters, although the later one lacks character development in the script, thus not allowing for Slater's expansion. Frances O'Connor is a very minor supporting character, but even with the little screen time that she has, it's evident that she is in possession of amazing range. Canadian born Adam Beach breaks through in what most likely accounts for his largest leading role. He breaths of freshness, comfort and chrisma.
The real problems with the film start with plausibility. Nicolas Cage kills seemingly hundreds of Japanese at times with his gun, bullets fly above for 2 hours and 15 minutes without hitting the main actors and soldiers reflect in the middle of a fire fight. It's also difficult to see why Cage's character has a sudden shift in outlook. The emotional journey of most of the other characters is fairly untold as well. The problems continue with predictable and cheesy moments, ideas that have been borrowed from previous resources, and a few pretentious moments.
As it stands, Windtalkers consists of great visuals and sound effects, good direction, a heart and an interesting story told by a cast of equal velour. The action, choreography, creativity and story truly allow you to feel the brutality of the war. It's unfortunate that all the fallibilities along the way detract from what could have been a great movie in a genre that's not so wonderful.
Grade: B [7/10]
During World War II, encrypted communication was a strategic key in the U.S. struggle to beat the Japanese. The United States used the Navajo Code Talkers, or "windtalkers" and their language since it provided the most secure method of communication in their operations in the Pacific. Two U.S. Marines (Nicolas Cage, Christian Slater) are assigned to protect the Navajo Marines. More so, they are assigned to "protect the code at all costs." This means that if they are to face possible capture on Japanese soil, the two U.S. Marines must kill their windtalkers.
Straight away limbs, feet, hands and heads are chopped off and blown apart mercilessly right in front of your very eyes. You also see Nicolas Cage shouting in agony due to the death of his friend, while bullets mysterious ly stop. The atmosphere of the fighting sequences in the film is established greatly through sound. If this film deserves an Oscar in one department, that's sound. The sound creates a sensation of tremendous realism. The bullets seem to whizz past you at rapid speeds and at times you can't help but wonder if they hit the person sitting behind you. Then you realize that you're the one who's been hit. Or so the sound suggests.
"Windtalkers" portrays the horrors of the Pacific battles vividly and no side seems right as long as they have a gun in their hand. The movie is filled of disturbing scenes of mankind at its worst. T.S. Elliot's "The Hollow Man" is about men who believe in nothing. The Marines appear at a position of reasonable comparison with such hollow men. Often they do not know what they believe in, so they believe in nothing. At many times, not even life.
Such men are represented by fairly talented cast members. Nicolas Cage and Christian Slater do a very decent job. This is not the best performance of their career, but nevertheless a solid one. They both capture the essence of the two characters, although the later one lacks character development in the script, thus not allowing for Slater's expansion. Frances O'Connor is a very minor supporting character, but even with the little screen time that she has, it's evident that she is in possession of amazing range. Canadian born Adam Beach breaks through in what most likely accounts for his largest leading role. He breaths of freshness, comfort and chrisma.
The real problems with the film start with plausibility. Nicolas Cage kills seemingly hundreds of Japanese at times with his gun, bullets fly above for 2 hours and 15 minutes without hitting the main actors and soldiers reflect in the middle of a fire fight. It's also difficult to see why Cage's character has a sudden shift in outlook. The emotional journey of most of the other characters is fairly untold as well. The problems continue with predictable and cheesy moments, ideas that have been borrowed from previous resources, and a few pretentious moments.
As it stands, Windtalkers consists of great visuals and sound effects, good direction, a heart and an interesting story told by a cast of equal velour. The action, choreography, creativity and story truly allow you to feel the brutality of the war. It's unfortunate that all the fallibilities along the way detract from what could have been a great movie in a genre that's not so wonderful.
Grade: B [7/10]
Human Nature
(2001)
A very crude, slow and unstructured journey
4 July 2002
"Human Nature" is a comedy written by "Being John Malkovich's" Charlie Kaufman and it doesn't fail to carry the distinct aroma of his previous film. The film explores our so-called "primal urges" and our need to live naturally with deep consideration of those urges.
Patricia Arquette plays Lila Jute, a human naturist who has a little problem. She is suffering from a hormonal balance that causes her to be abnormally covered with body hair. While this does not pose much of a concern for her personally, it does for everyone else and more specifically, men. After getting fed up with the world, she decided to live in the forest amongst the animals and write best-selling nature books. However the animal in her begins to miss the precious company of men and so she returns to civilization. Lila shaves her body hair and begins a somewhat odd relationship with Nathan Bronfman (Tim Robbins). Nathan happens to be an etiquette scientist who tries to teach mice and Lila table manners. One day, Lila and Nathan come across an untamed man (Rhys Ifans) who was raise by a father who believed himself to be a monkey. That man is later nicknamed Puff. The Puff creature happens to be the perfect subject for Dr. Nathan Bronfman as he changes Puff's wild ways to more more cultivated conduct. Lila is left torn between lying about her "human nature" or embracing her urges and running wild.
Perhaps I'm as prude as Tim Robbins's character, however there is no appreciation of the refined gross-out humor in my sight. It appears as though the crude humor found its way into the movie for no reason other than the fact it could. Luckily the film makes up for that in very unique cinematography. The interesting camera angles and settings take away a bit from the numerous unnecessary masturbation jokes and bodily fluid gags. There were many other ways that such a creative team of filmmakers could have coped with them in a more substantial manner and prevented their detraction of the finer aspects of the movie.
The finer aspects of the film include the brilliant acting from some of the somewhat less familiar faces in Hollywood. Actress Patricia Arquette creates a character that is believable, originative and daring. She inhibits Lila with great ease and manages to push all the right buttons to make her tick just the right way. Rhys Ifans fills Puff's shoes with more content than expected. While he is able to add much to the film due to his comedic nature, there are a few points in the film where Rhys is able to show even greater depth. Both actors make great counterparts.
At times obscene and at others strange, the comedy manages to tackle some more thought-provoking issues, outside of humping. "Human Nature" discusses issues of evolution, the human desire to blend in and what it really is that makes us human. It walks through a somewhat slow and unstructured journey that imprints the difference between civilization, monkeys and mankind.
Despite its charms, "Human Nature" is not what it could have been. It does not live up to its potential because the filmmakers decided to make too many hollow & irrelevant stops and too few truly important ones. In the end, "Nature" is daring, well acted, unique, intelligent in spirit and very very crude.
Grade: C
Patricia Arquette plays Lila Jute, a human naturist who has a little problem. She is suffering from a hormonal balance that causes her to be abnormally covered with body hair. While this does not pose much of a concern for her personally, it does for everyone else and more specifically, men. After getting fed up with the world, she decided to live in the forest amongst the animals and write best-selling nature books. However the animal in her begins to miss the precious company of men and so she returns to civilization. Lila shaves her body hair and begins a somewhat odd relationship with Nathan Bronfman (Tim Robbins). Nathan happens to be an etiquette scientist who tries to teach mice and Lila table manners. One day, Lila and Nathan come across an untamed man (Rhys Ifans) who was raise by a father who believed himself to be a monkey. That man is later nicknamed Puff. The Puff creature happens to be the perfect subject for Dr. Nathan Bronfman as he changes Puff's wild ways to more more cultivated conduct. Lila is left torn between lying about her "human nature" or embracing her urges and running wild.
Perhaps I'm as prude as Tim Robbins's character, however there is no appreciation of the refined gross-out humor in my sight. It appears as though the crude humor found its way into the movie for no reason other than the fact it could. Luckily the film makes up for that in very unique cinematography. The interesting camera angles and settings take away a bit from the numerous unnecessary masturbation jokes and bodily fluid gags. There were many other ways that such a creative team of filmmakers could have coped with them in a more substantial manner and prevented their detraction of the finer aspects of the movie.
The finer aspects of the film include the brilliant acting from some of the somewhat less familiar faces in Hollywood. Actress Patricia Arquette creates a character that is believable, originative and daring. She inhibits Lila with great ease and manages to push all the right buttons to make her tick just the right way. Rhys Ifans fills Puff's shoes with more content than expected. While he is able to add much to the film due to his comedic nature, there are a few points in the film where Rhys is able to show even greater depth. Both actors make great counterparts.
At times obscene and at others strange, the comedy manages to tackle some more thought-provoking issues, outside of humping. "Human Nature" discusses issues of evolution, the human desire to blend in and what it really is that makes us human. It walks through a somewhat slow and unstructured journey that imprints the difference between civilization, monkeys and mankind.
Despite its charms, "Human Nature" is not what it could have been. It does not live up to its potential because the filmmakers decided to make too many hollow & irrelevant stops and too few truly important ones. In the end, "Nature" is daring, well acted, unique, intelligent in spirit and very very crude.
Grade: C
A bunch of pretty horses running around...
4 July 2002
Dreamworks SKG set out a task for itself to show the spirit of the animals without their ability to use the English language. Here the horses don't sing, dance or talk. So where is all the fun? The only "horsing" here is done through Matt Damon's narration of Spirit's thoughts. This could have worked - but it didn't.
Spirit is a wild, free-spirited stallion and leader of the Cimmaron herd. He runs with the eagle until he's captured by some by Cavalry soldiers in the old west, due to his curiosity. The cavalry's leader (James Cromwell) decides to break spirit by starving and dehydrating him and ties him to a post for three days. The same fate is met by a captured Indian (Little Creek), however the duo manages to gallop away. Little Creek (Daniel Studi) teaches the stallion about the power of love and the value of compromise.
While the horses galloped, never has there been anyone in the audience who was that excited about discussions in regards to painting doors. One can't be blamed for taking a little break, considering just how predictable this movie got. Perhaps the greatest fault lies in the extremely weak script/storyline. Aside from Spirit's galloping away and being caught over and over, there is nothing much else. Most scenes in the movie lack plausibility and while it can certainly be forgiven in a film, not to such an radical extent. Throw in a couple of hard-pressed morals and you've got yourself a headache.
The film's major premise was to lay off the standard talking-animal pattern of most animated pictures. The horses convey their emotions through whinnies, snorts, and facial expressions. Instead of horses being Tom Cruise or Brad Pitt, horses are horses. It's an interesting tactic, although talking animals are not an emotional conflict either! Perhaps it would have worked, except it didn't. Inserting a voiceover narration by Matt Damon didn't help either. It felt entirely out of place. If there was more horsing around in his narration, it would have helped greatly.
The animation is the strongest element. It's stunning and reflects the rich, vibrant colors of the Old West with bursts of exhilaration and energy At numerous moments the animation actually felt real. When the snow dropped, you thought it was dropping on you and when the horse jumped, you felt like you were about to fall. Hans Zimmer's score also greatly flatters the film. It's very much in sync with the picture. As for Bryan Adams's songs, a few did stand out such as "Get of off my back," and "never going to give up." However most of his other songs were quite weak and mild.
Directors Kelly Asbury and Lorna Cook utilize a lyrical style of storytelling, employing music greatly to drive the plot. There were a few times when eyes could have gotten candidly teary and they did. It's obvious that there were at least some talented people involved with this spirited project, but they must have been looking the other way when the ghastly script sneaked up on them.
The target audience of girls will definitely appreciate it much more than the adult world. It's stunning, has horses, high energy and a few jokes here and there. While the idea was there, it's unfortunate that the script left us to watch not much more than a bunch of pretty horses running around from place to place to the 'soulful' tunes of Bryan Adams.
Spirit is a wild, free-spirited stallion and leader of the Cimmaron herd. He runs with the eagle until he's captured by some by Cavalry soldiers in the old west, due to his curiosity. The cavalry's leader (James Cromwell) decides to break spirit by starving and dehydrating him and ties him to a post for three days. The same fate is met by a captured Indian (Little Creek), however the duo manages to gallop away. Little Creek (Daniel Studi) teaches the stallion about the power of love and the value of compromise.
While the horses galloped, never has there been anyone in the audience who was that excited about discussions in regards to painting doors. One can't be blamed for taking a little break, considering just how predictable this movie got. Perhaps the greatest fault lies in the extremely weak script/storyline. Aside from Spirit's galloping away and being caught over and over, there is nothing much else. Most scenes in the movie lack plausibility and while it can certainly be forgiven in a film, not to such an radical extent. Throw in a couple of hard-pressed morals and you've got yourself a headache.
The film's major premise was to lay off the standard talking-animal pattern of most animated pictures. The horses convey their emotions through whinnies, snorts, and facial expressions. Instead of horses being Tom Cruise or Brad Pitt, horses are horses. It's an interesting tactic, although talking animals are not an emotional conflict either! Perhaps it would have worked, except it didn't. Inserting a voiceover narration by Matt Damon didn't help either. It felt entirely out of place. If there was more horsing around in his narration, it would have helped greatly.
The animation is the strongest element. It's stunning and reflects the rich, vibrant colors of the Old West with bursts of exhilaration and energy At numerous moments the animation actually felt real. When the snow dropped, you thought it was dropping on you and when the horse jumped, you felt like you were about to fall. Hans Zimmer's score also greatly flatters the film. It's very much in sync with the picture. As for Bryan Adams's songs, a few did stand out such as "Get of off my back," and "never going to give up." However most of his other songs were quite weak and mild.
Directors Kelly Asbury and Lorna Cook utilize a lyrical style of storytelling, employing music greatly to drive the plot. There were a few times when eyes could have gotten candidly teary and they did. It's obvious that there were at least some talented people involved with this spirited project, but they must have been looking the other way when the ghastly script sneaked up on them.
The target audience of girls will definitely appreciate it much more than the adult world. It's stunning, has horses, high energy and a few jokes here and there. While the idea was there, it's unfortunate that the script left us to watch not much more than a bunch of pretty horses running around from place to place to the 'soulful' tunes of Bryan Adams.
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