kdufre00 Reviews

The Business of Strangers (2001)

A small, but forceful, film that offers plenty of food for thought

[28 December 2001]

In "The Business of Strangers", Stockard Channing plays Julie Styron, a self-made business woman approaching middle age who is paired up with young tech assistant Paula Murphy (played by Julia Stiles) on a business trip. When Paula arrives late to a meeting due to a delayed flight, a distressed Julie has her fired on the spot. Later, after being promoted CEO of the company, Julie runs into Paula sitting alone in a bar, apologizes for her rash behavior and the two set out on a night of female bonding, power trips, revenge, mind games, and button pushing.

This verbal film spends a considerable time exploring the stark contrasts between the two women. Paula is a hostile young woman who writes non-fiction about her life experiences, sports tattoos, experiments with bisexuality and self-mutilation, and has a fondness for hardcore pornography. Julie is career-driven to the point of isolation and is much softer and less confrontational than Paula. It is exactly through these contrasts that we see a complementary relationship emerge between these two characters. While Paula's brash confidence exposes Julie's insecurity and anxiety, Julie's worldliness and experience make Paula seem impetuous. As a result, a dynamic interplay and synergy come out from these exchanges.

When a male associate of Julie's enters the plot, Paula ups the ante by revealing to Julie that he committed a rape at a frat party she attended in Boston years ago. From this point on, "The Business of Strangers" turns into a story of revenge and maintains a misanthropic and satirical tone. It is this tone that makes "The Business of Strangers" so much like Neil Labute's indie hit, "In the Company of Men", in the way that it explores power trips, mind games, one-upmanship, and competition. In this film, a woman's struggle within a male-dominated corporate world is also an theme that is covered.

"The Business of Strangers" is not exactly an impressive film stylistically, but it more than makes up for this in its delicious dialogue which works two ways. It always keep the suspense going by teasing and daring the audience to guess what will happen next, only to foil any attempt to do so. Another thing the dialogue does is establish the characters' personalities by shedding light on their life histories and motives. Channing and Stiles fill both their roles to perfection and play off each other extremely well. Channing is up to task with her most interesting role since "Six Degrees of Separation" nearly ten years ago. Every look and gesture serves to imply the world-weariness and jaded vulnerability that Julie inhabits. Stiles, is no less impressive as the more provocative of the two women. Apart from seeing a few random scenes from "10 Things I Hate About You", I have never seen her act before, but her dynamic performance here has me intrigued. Both Channing and Stiles are deserving of Oscar nominations, but will most likely be overlooked since "The Business of Strangers" is a low budget indie film. While the 85-minute running time is slight, this movie will keep you engaged in thought as well as entertained.

Hannibal (2001)

Some things are better left unsaid (mild spoiler)

[23 September 2001]

Back in December of 1998 when I went to see Gus van Sant's remake of the Hitchcock classic "Psycho" on its opening day, I knew that I was going to hate it. The question was how much. As it turns out, "Psycho" stands as one of the worst movies I have seen in the past ten years. So it was with the same mixed feelings of anticipation and foreseen disappointment that I approached Ridley Scott's "Hannibal" the sequel to the Hollywood masterpiece (what an oxymoron that is), "The Silence of the Lambs."

"Hannibal" is indeed a horrible film but, to my surprise, not for the reasons that I had expected. Let me explain. Not only did I resent the fact that anyone would want to make a sequel to "Lambs" when it already has one of the most legendary cliffhanger endings in recent movie history, I also became fearful when Jodie Foster and Jonathan Demme passed on "Hannibal", seeing that as an early indication that "Hannibal" would be a poor and exploitive film. In short, I saw "Hannibal" as a threat to the integrity of "Lambs". Thankfully this isn't the case, as "Hannibal" and "Lambs" are two completely different films, and I can safely view them as two distinct entities. It is to "Hannibal's" credit that the filmmakers involved did not have any pretensions of making a film of the same caliber as "Lambs." Instead they set out to make a farce, which is fine except that the joke is on the audience. After all, who cares about such things as story structure and well-defined characters when there is a great deal of money to be made?!

What makes "Hannibal" such a poor movie is its uneven structure. There seems to be one subplot too many and nothing is incorporated into the film very well at all. Worse than that, "Hannibal" is static and boring, up until the last 20 minutes when it suddenly veers off into the ridiculous. Before the over-the-top scenes of man-eating wild boars and the final dinner scene (which are only there for shock value), "Hannibal" doesn't even sustain enough interest to have good camp value.

Also, I was disappointed, though not surprised, that the character of Clarice Starling was so underdeveloped. I know it is unfair to make comparisons, but part of the reason why "The Silence of the Lambs" is such a great film is because the audience witnesses the events unfold vicariously through Starling. It is her vulnerability and inexperience that makes Jodie Foster's Clarice Starling not only human and relatable, but also one of the best cinematic heroines of the 90's. Sadly for Julianne Moore (a talented actress who has unfortunately made some dubious choices, i.e. the aforementioned "Psycho"), the Clarice Starling in "Hannibal" is only two-dimensional. At least Anthony Hopkins has more fun in a caricatured version of his erudite madman, Hannibal Lecter.

If "Hannibal" does have any saving graces it is its DVD, which is loaded with special features. I watched the making-of documentary on the DVD and found that to be more interesting than the actual film. In its defense, I must say that a lot of talent went into the making of "Hannibal." I particularly enjoyed the bits about the make-up and special effects, as well as Hans Zimmer's beautiful opera score. It is just a shame that this talent was wasted in such a poorly organized film. "Hannibal's" marketing tagline is "Break the Silence." Perhaps some things are just better left unsaid.

3 Women (1977)

Probably the best movie you won't be able to understand (contains mild spoilers)

[9 September 2001]

I haven't seen all of Robert Altman's films, but I can easily say that he is one of the greatest innovators when it comes to character-driven films, as seen in his large ensemble pieces from "Nashville" to "Short Cuts." Perhaps the reason why so many actors like to work with Altman is because he gives them free-rein in the composition of their characters. Altman's ability to capture the actor's talent of creating a character from the inside out is no less present in his 1977 drama "3 Women", a buried treasure of a film starring Shelley Duvall and Sissy Spacek. "3 Women" is definitely a character-driven film, as there is virtually no plot to speak of. To enjoy this film is to be enamoured of Duvall and Spacek's performances, as well as Altman's daring and uncompromised vision.

Duvall plays Millie Lammoreaux, a young woman living in a barren California desert town whose delusions of grandeur place her in a fantasy world full of social gatherings, dinner parties, and gentleman callers. Whether she is at the nursing homes where she works or the residential motel where she lives, she carries on as if she were the cat's meow, oblivious to the fact that her incessant ramblings about everything from her favorite food recipes to hula dancing lessons are falling on deaf, in not unkind, ears. Because of her endearing qualities however, Millie is a loveable misfit. The way she always slams her car door on the hem of her skirt says so much about her character.

Spacek plays Pinky Rose, a new employee at the nursing home who takes an immediate liking to Millie and soon becomes her roommate. A childlike waif, Pinky emulates Millie in the same way a 6-year-old girl looks up to her big sister. While she completely feeds Millie's self-absorption, she also turns Millie's life upside down when she takes on her identity, borrowing her clothes and copying down her social security number.

The third woman in "3 Women" is Willie Hart (played by Janice Rule), a sullen, pregnant woman who spends her time painting disturbing murals inside empty swimming pools. She is also married to Edgar (played by Robert Fortier), a drunken lout whose claim to fame as a former stunt double in famous Wyatt Earp westerns makes him a figure of admiration at the motel. The weirdness sets in when Millie invites Edgar over for an adulterous fling, causing a dejected Pinky to jump into the motel's swimming pool from a second story landing, putting her in a coma. This event is the first major plot point in "3 Women". as it spins the storyline in a completely new direction. Pinky wakes up from the coma, rejects her parents who have traveled all the way from Texas to see her, and turns into a surly beer-swilling, gum-chewing tramp. Overcome with guilt, Millie also changes into a different person. Her inflated ego disappears, she becomes more passive, and she caters to Pinky even while Pinky bullies her and treats her with complete disrespect.

"3 Women" has undoubtedly inspired wonder in whoever has seen it. The tone of the film is extremely strange and dreamlike and is filled with many symbols that defy the viewer who tries to make heads or tails of them. There are also many archetypal, mythical figures in "3 Women" that seem to come right out of a Jungian dream analysis book. For instance, Pinky's fixation with Polly and Peggy, two twins who work at the nursing home with her and Millie, figures prominently in the film right down to its climactic dream sequence. At one point in the movie, Pinky muses, "Do you think they know which one they are?...Maybe they switch back and forth. One day Peggy's Polly, and another day Polly's Peggy." Janice Rule's Willie also seems to be an archetype, the mother figure.

Altman doesn't attempt to explain any of the weird connections in "3 Women." Every time I watch this film, I find myself confounded by the same questions: why are the twins so aloof? why is Millie and Pinky's supervisor so unrelentingly bitchy? why is Pinky twice shown taking off her underwear from underneath her skirt? The list goes on. Altman does provide a few rhyming scenes in the film as well. One such scene is one in which nice Pinky is sitting in a deserted bar and is spat upon by a hideous wall ornament in the figure of a wizened old woman, named "Dirty Gertie", whose mechanical laugh accompanies Willie's entrance into the scene. This scene prefigures a later scene in which bad Pinky mischievously spits beer at Edgar and then proceeds to cackle in an exaggerated fashion.

It is a shame that "3 Women" is not available on home video or DVD. I happened to catch it on the cable network known as WE (Women's Entertainment) and was so intrigued by it that I looked up the next time it was playing so that I could record it. It is a wonderfully unusual film and Duvall and Spacek are up to task. The role of Millie Lammoreaux is a career best for Duvall. She has never played such a rich character before or after "3 Women." This is also my personal favorite Spacek performance. The spookiness of her performance here rivals her performance in "Carrie." She deftly portrays both Pinkys with equally terrific conviction. And Altman is to be commended (even 24 years after the fact) for bringing such a refreshingly unconventional story to the screen. "3 Women" is arguably the best and most mystifying film that I don't think I will ever understand.

The Deep End (2001)

Didn't see anything too "deep" on this "end"

[25 August 2001]

As an admirer of Tilda Swinton's performances in films like "Orlando" and "Female Perversions", I could hardly wait to see her in "The Deep End", a new film directed by Scott McGehee and David Siegel which has garnered a heap of acclaim from just about every major publication I can think of. But how these film critics can mislead the movie-going public! Swinton's performance as a mother who endangers herself on her son's behalf is right on the mark, but the film itself suffers from too many plot holes and contrivances, as well as poorly developed characters.

"The Deep End", which is based on a novel called "The Blank Wall" by Elisabeth Sanxay Holding, begins intriguingly enough with Swinton's character, Margaret Hall, entering a gay dance club to demand that its sleazy owner, Darby Reese, (played by Josh Lucas, last seen as Laura Linney's sleazy ex-husband in "You Can Count on Me") stop seeing her young trumpet-playing son Beau (played by Jonathan Tucker). Within the next few minutes, Darby's corpse appears on a shore near Margaret's quiet home on Lake Tahoe. In the time it takes her to take out the garbage, Margaret ties an anchor to the body and buries it in the water. But her troubles are far from over when she must negotiate with blackmailer Alek Spera (played by Goran Visnjic), who threatens to turn over some potentially incriminating evidence to the police if she fails to comply.

"The Deep End" may have been as exciting as it sounds in print if the writers/directors had attempted to develop the characters more, so that we can actually care about them in perilous situations. Swinton's character Margaret is likeable enough, but never did I feel as if she were an ordinary person in an extraordinary situation, as one would think. If there had been more scenes included in "The Deep End" that illustrated the tension that someone in Margaret's shoes would feel, then this thriller would actually "thrill." But instead, Margaret seems to assume a calm and collected veneer throughout. Some key scenes should have been longer and more detailed. For instance, the scene where Margaret discovers Darby's corpse is disappointing because she isn't given enough time to be appropriately shocked or upset. Instead she quickly disposes of the body seemingly on instinct, as if she were simply performing a routine household chore. Now if I were her, I would have been a nervous wreck!

Another problem I had with this film is that Margaret's relationships with other characters are not very well-established. The relationship between Margaret and Beau could have been more interesting if Margaret had perhaps shown more animosity or resentment towards her son for his involvement with someone like Darby Reese and for putting her in such a compromising position. But McGehee and Siegel seem more intent on portraying Margaret as a saintly mother who bears no ill will to anyone. Also Beau is given very little to do except look pretty and play the trumpet!

The relationship between Margaret and Alek Spera is also inadequately established, mainly because Alek's motivations are not made clear enough. I suppose if you had to be blackmailed by someone, you could do a lot worse than hunky Goran Visnjic, but the "blackmailer-with-a-heart-of-gold" thing was a little hard to swallow, if only because Visnjic projected so little chemistry with Swinton. It is easy to feel sympathy for Margaret's plight, but if Alek's interest in her well-being was for romantic reasons, then this is news to me! While I am relieved that McGehee and Spiegel opted not to include an obligatory love scene between Margaret and Alek, it would have been nice if they thought of some overt ways that Alek could show his affection for Margaret. I mean, come on, Tilda Swinton is a beautiful lady. It shouldn't be too hard for someone to stare longingly at her.

All gripes aside, "The Deep End" is still a decent movie because of its slick direction and compelling lead performance by Swinton. Just don't go into this movie expecting the masterpiece that all the top critics say it is. If McGehee and Siegel had developed the characters more, then maybe this movie would deserve to be called "the best American movie of 2001." If you really want to see the best American movie (so far) this year, you are better off getting tickets for "Hedwig and the Angry Inch" or "Ghost World."

La Belle Noiseuse (1991)

I guess I enjoy watching paint dry

[28 May 2001]

Until last night, I have shied away from this film due to its daunting 4-hour length. But watching Jacques Rivette's "La Belle Noiseuse" was not nearly as difficult as I feared it might be. In fact, it actually feels liberating to watch a film that doesn't limit itself to a predetermined time constraint. With most films that rely heavily on an advancing plot, any possible lulls may wear on the viewer. "La Belle Noiseuse" boldly eschews the artifice of plot and standard pacing, and deeply focuses on its story of an artist, Frenhofer (played by Michel Piccoli), finding inspiration in a young model (played by Emmanuelle Beart) to paint again after a 10-year hiatus.

The drawing scenes alone really held my interest. Presented with little dialogue, they really made me feel as if I were witnessing art unfold, which is nothing less than exhilarating. It was also fascinating to see this in combination with the subtle development and changes that take place within Beart's character, Marianne, as she transforms from a fidgety, resentful subject to an impassioned muse who sheds away all corporeal pretense and lends her bare soul to the canvas. Giving support to the complex and nuanced performances of the two leads, the waiflike Jane Birkin is also a standout in the role of Liz, the artist's wife, especially in the later scenes in which she expresses conflict with her husband's art.

I am glad that I have finally seen this movie, and I definitely encourage anyone with a curiosity about this movie to see it too. All it requires is four hours of your time and an open mind. "La Belle Noiseuse" is an extremely long film, but never boring. Watching this film is like slowly immersing your body into a hot bath. Your enjoyment of it all depends on how willing you are to adapt yourself to its pacing. But like a hot bath, it takes a little adjustment.

Eureka (2000)

A long film that will reward the viewer - mild spoilers

[8 May 2001]

It is hard to write a review of "Eureka" without mentioning its extreme running time. At 3 hours and 37 minutes, director Shinji Aoyama takes his time to tell a story of new beginnings following an indefinite and stagnant period of trauma. Given the subject matter, however, "Eureka" would not have the same effect had it been told in 2 hours. This is a movie about 3 characters each in different stages of a recovery process, and to afford them less time to do so would be unfair.

"Eureka" opens with two teenage siblings, Kozue and Naoki (played by real-life sister and brother Aoi Miyazaki and Masaru Miyazaki), boarding a bus. Right after the last of the opening credits, the scene jump cuts to a jarring shot of a blood-stained hand, the camera moving away to reveal a corpse in the middle of a parking lot with the bus in the background. Within a few moments, we realize that one of the passengers has taken the bus driver and Kozue and Naoki hostage, after having killed the other passengers, and before being gunned down himself by a SWAT team.

This traumatic incident renders both children mute and the bus driver, Makoto (played by Koji Yakusho), restless and nomadic. 2 years pass and Makoto seeks out Kozue and Naoki, after finding out that their father has died and their mother has abandoned them, leaving them to fend for themselves. The children permit Makoto to stay with them and he fulfills the role of father figure. They are later joined by a college-age cousin, Akihiko (played by Yoichiro Saito), checking up on the children during a semester break. Akihiko's presence provides "Eureka" with interesting chracter dynamics, given the fact that up until his arrival, Makoto does not have anyone to talk to since the two children are mute. What follows is an existential road trip once Makoto decides to get his life back on track by purchasing a small bus and inviting the kids on a journey of promise and healing.

Probably the best asset of "Eureka" is the camera placement. This movie is a series of long takes and long shots. There are few, if any, close-up shots of the characters. Normally, I find this style of film-making challenging and frustrating since it places us away from the characters, but it works very well here. The long shots do place us "away" from the characters but at the same time we are given enough room to interpret what we see on the screen. It is a different kind of documentary technique than the more close-up and sharply edited documentary style present in "Amores Perros," (another movie from this year that I consider to be a masterpiece), but it is no less effective here in "Eureka". It is also mandatory that I mention the lush black-and-white cinematography as well.

"Eureka" certainly demands the viewer to keep his or her attention span intact. The long takes of each scene as well as the long periods without dialogue take some getting used to, but eventually (hopefully) the viewer will find himself/herself in the film's rhythm. Trust me, the viewer will be rewarded by slowly being transported into the characters' world. After spending 3 hours and 37 minutes with Makoto, Akihiko, Kozue, and Naoki, they will feel like new and dear acquaintances.

Amores Perros (2000)

Crouching Tiger, Hidden WHO???

[15 April 2001]

wow....WOW!!

These were the very words I had in my head as the end credits to "Amores Perros" filled the screen. As much as I loved Ang Lee's "Crouching Tiger, Hidden Dragon", this film should have taken home the Oscar for Best Foreign Language Film at last month's Academy Awards ceremony. "Amores Perros" is both hugely entertaining and oddly moving. It features great ensemble acting. The performances of Gael Garcia Bernal and Emilio Echevarria really stand out in particular. The handheld camera and the frenetic editing really take the audience into each scene, all the way up to the cathartic ending.

Many comparisons have been made of this film to Quentin Tarantino's 1994 hit film "Pulp Fiction" because of its length (153 minutes) and the fact that its three interconnecting storylines each hinge on a jolting event (a car crash and a hold-up at a coffee shop, respectively). This is all pretty accurate, but the comparison ends there. "Amores Perros" is no hip crime drama that self-consciously makes playful references to pop culture. It is, instead, a largely ambitious film that painstakingly weaves its universal themes of fraternal rivalry, sins of the father, cruelty, and redemption into a collage of disparate characters (a young hooligan, a supermodel, and a street vagrant) set against a gritty urban landscape. It succeeds on all fronts, and in flying colors.

What makes "Amores Perros" all the more remarkable an achievement is that it is director Alejandro Gonzalez Innarritu's FIRST FILM! With a film like this, so ambitious and full of complex existential themes, most first-time directors would be in over their heads. But Innarritu's direction is right on target, and without being vainglorious or "show-offy" in any way. In short, it is a very ambitious movie, but without any vanity on the director's part attached.

I really don't want to say anything about the actual plot of "Amores Perros." It is full of surprises and I am very happy that I went into the film knowing very few things about it. I came out of it feeling stunned at what I just saw. This is the first really great film of 2001. I am very certain that it will appear in my top ten list of 2001 at the end of the year. Considering that I see fifty to sixty movies each year on average, that is pretty high praise.

What more can I say? Go out and see this knockout film!

Dead Man Walking (1995)

A sensitive treatment of a controversial topic

[13 April 2001]

Coming from the Hollywood couple notorious for their strong political convictions and social consciousness, "Dead Man Walking" is a multi-layered and thorough examination of a controversial issue. With this film, Tim Robbins really proves himself as a writer and a director, leaving no stones unturned in addressing the many key elements of capital punishment. In what I consider the best film of 1995, Robbins' take on the death penalty is both compassionate and incisive. Though he, Susan Sarandon, and Sister Helen Prejean (the Catholic nun who wrote the book upon which the movie is based) are against the death penalty, "Dead Man Walking" goes to great lengths to encourage debate and to examine the issue from all angles. It provides us with just as many arguments for capital punishment as it provides against capital punishment.

"Dead Man Walking" is perhaps most successful in depicting the families of both the murderer and his two victims. The scene in which Sister Helen visits Mr. Delacroix (father of the male victim) after he has criticized her for not doing so in the first place is particularly moving. As the scene ends, the camera slowly moves back, revealing a quiet and still living room. This shot alone perfectly suggests the shattering toll a murder takes on a family. In fact, this film has plenty of subjective camerawork that is both subtle and potent at the same time. Never does Robbins' feel that he has to hammer in the pain that these families face.

Sean Penn gives the performance of his career as Matthew Poncelet, the trailer-trashy and racist death-row inmate. This is the role that should have won him the Oscar, had there been any justice. A great testament to Penn's acting is that he does not try to win sympathy for his character. He simply plays Poncelet as is, and presents him as human, in the process. I have seen this film many times over the years and my heart still skips a beat when Poncelet finally lets go of his ego and owns up to his responsibility in the murders.

Susan Sarandon is simply wonderful as Sister Helen Prejean, playing her with a combination of bravery and vulnerablility. It is also great to see a Catholic nun depicted in a non-stereotypical way. Just as Penn gives a human face to a hardened criminal, Sarandon makes Sister Helen equally human.

I also strongly recommend the book! I have read it twice myself and I am sure that I will be affected by it once more the next time I pick it up. By reading the book, you will notice that Robbins has taken a few liberties with the actual events. The character Matthew Poncelet is actually an amalgamation of two death row inmates that Sister Helen describes in her book. The spirit and compassion of the book is dead-on accurate. It amazes me that Robbins' screenplay adaptation was not even nominated for an Oscar in addition to the other four nominations this movie did receive. As far as I am concerned, Robbins' direction and writing are assured, and I continue to look forward to his next projects.

In the Mood for Love (2000)

In the mood for SLEEP!

[1 April 2001]

Can someone please explain to me why I am supposed to like this movie?? Like another film by Wong called "Chungking Express" this movie got on my last nerve with its overly self-conscious style, boring protagonists who do nothing more than stare into each others eyes, and irritating musical repetitions that do not add to the movie. Even all those fancy high-collared dresses that Maggie Cheung's character wears throughout the movie annoyed me! The movie's only asset is its breathtaking cinematography. But just because a movie looks pretty doesn't mean that it is a masterpiece. With all the praise that has been heaped on "In the Mood for Love" by critics and viewers, I was expecting something more. I haven't seen anything this pretentious in a while.

You Can Count on Me (2000)

My kinda film!

[16 January 2001]

After seeing over 50 movies from the year 2000 I feel very hard-pressed to find a better, more genuine performance than Mark Ruffalo's performance here. I regret having smirked when I heard critics calling Ruffalo "the next Brando." After seeing this movie, I now feel that such praise is deserved. He really does a superlative job of getting into his character's skin and making it appear effortless. Not once in the movie does it ever seem like he is giving a "performance." That is what good acting is all about. Mark Ruffalo in "You Can Count on Me" is the real thing!

The same goes for Laura Linney, who I have liked ever since viewing "Tales of the City." She gives an incredibly nuanced performance as Sammy Prescott. Some people have complained that they didn't understand her character's motivation for having an affair with her boss. But I felt like I was with her every step of the way because of the fine details Linney gives to her conflicted character. She and Ruffalo play off each other incredibly well. It is a real joy to see them shine in this film.

It saddens me that, although Linney and Ruffalo have good chances for Oscar nominations, they will probably lose the coveted award to the likes of Hollywood favorites like Julia Roberts (in the over-rated "Erin Brockovich") and Michael Douglas (in the even more over-rated "Wonder Boys").

Edge of Seventeen (1998)

The best of its kind

[16 January 2001]

If you are like me and think that you have seen one too many gay coming-of-age films (i.e. "Get Real" or "Beautiful Thing") and are getting tired of the whole cliche-ridden genre, then I urge you to take a chance on "Edge of Seventeen". You might walk away from it feeling refreshed and pleasantly surprised.

Director David Moreton's honest and understated screenplay makes this film a cut above the rest. It neither succumbs to cliche, nor does it it pander to the audience's expectations. It also works in the film's favor that it doesn't aim to be a straight-friendly crowd pleaser. Instead, it is a quieter and no-frills portrayal of what it is like to grow up as a gay teenager. The sex scenes in "Edge of Seventeen" are also genuinely erotic and sensitively portrayed. They are realistic not because they are graphic, but because of the emotional candor that comes from them.

"Edge of Seventeen" is also extremely well-acted by a committed cast of actors, most of whom make their screen-acting debuts here. Chris Stafford gives one of 1999's best performances as Eric. What I liked about Eric is that Moreton does not paint him as a hero or a saint, but rather as a vulnerable kid who slowly tries to assert his sexuality, while not always making the right decisions. It is also very moving to see how he struggles to find acceptance and validation not only from his family and his friend Maggie (played nicely by Tina Holmes) but also from his new gay peers. The scene where he phones Rod on the pay phone is a good example of this.

The ending is another reason why "Edge of Seventeen" stands out. Rather than tying everything up in a neat, little resolution, it leaves many questions remaining, many issues left unresolved. But it is still a satisfying ending because it gives the audience a sense of hope. It doesn't ignore the fact that our decisions may bring about as many sacrifices as they do rewards.

Ironically, I think the uncompromised honesty is the reason why it didn't do as well commercially as movies like "Get Real" and "Beautiful Thing." Unlike these two films, "Edge of Seventeen" is a more serious and understated film that doesn't rely on trite gay jokes and sassy "fag hags" and drag queens to get laughs. In other words, it achieves its truthfulness by not reducing itself to a crowd pleaser. Also, while the main character, Eric, is very likeable, he is not without flaw. I think this makes it easier for a viewer to relate to Eric as he attempts to find self-acceptance and belonging. For these reasons, "Edge of Seventeen" beathes life into the gay coming-of-age genre.

Requiem for a Dream (2000)

The red dress

[28 December 2000]

"Requiem for a Dream" is easily one of the best films of 2000, one that deserves to be remembered for many years to come. As I was watching this film for the first time, I was overwhelmed by Darren Aronofsky's bold film-making techniques. By the end, however, I appreciated the immediacy and unabashed truthfulness they gave each scene. Despite its often discordant style, "Requiem for a Dream" is a moving film that flows seamlessly. It contains many disturbing images, but never does anything seem thrown in just for the sake of shocking the audience. What we get instead is a deeply felt story about four people whose lives are crippled by their addictions.

Many people have referred to "Requiem for a Dream" as an anti-drug movie, which it certainly is! It definitely provides a vivid account of how drugs complicate the lives of the four principal characters, as each slowly descend into his/her own personal hell during the film's wrenching climax. However, "Requiem for a Dream" is as much a film about human frailty and longing as it is an anti-drug movie. It wasn't until the second time I saw this film that I recognized Sara Goldfarb's red dress as a symbol for the unattainable dreams that each character desires to fulfill. The scene where Sara is visited by her son Harry and she tells him that the red dress "is a reason to wake up in the morning" really drives this point home. She yearns for the time in her life when her husband was still alive and Harry was still close to her, much the same way that Tyrone yearns for the comfort and love he once felt in his mother's arms. Also, in two dream sequences, Harry is seen approaching Marion, who is at the end of a pier wearing a red dress (an image that is used for the poster art for this film). Such an idyllic scene as this is offset by other scenes depicting each character in the throes of their respective addictions.

Ellen Burstyn's fearless portrayal of Sara Goldfarb, the lonely and helpless widow beset by her addiction to diet pills, gives "Requiem for a Dream" its emotional center. She deserves all the accolades she has received for this performance. Jared Leto, Jennifer Connelly and Marlon Wayans also deserve recognition for their committed performances. Matthew Libatique's photography and Clint Mansell's hauntingly dark score add immensely to this film. And I really look forward to Darren Aronofsky's future films. With "Pi", Aronofsky made a very promising start, and with "Requiem for a Dream" he lives up to that promise.

The Cider House Rules (1999)

Rent "The World According to Garp" instead

[26 November 2000]

As a fan of John Irving's novels, I just cannot recommend this movie adaption of his wonderful 1985 novel. This is pretty sad, considering the fact that Irving adapted the screenplay himself, and won an Oscar for it to boot! The irony is priceless!

I don't mind so much that this adaptation did away with some of the novel's sub-plots (the character of Melony, and Homer's friendship with Wally) for the sake of economy. What irks me though is that it trades in the original novel's sardonic edge for schmaltz and sentimentality. The movie is designed to make audiences ooh and aah over those cute 'lil orphans. It is a highly manipulative and candy-coated movie. Sure, Irving's novel had a lot of heart and sentimentality as well, but at least it showed some restraint. I probably would have liked this movie adaptation a lot more if it didn't try so hard to be an audience pleaser. What next? A G-rated version of "A Widow for One Year?"

If you want to see a more worthy adaptation of a John Irving novel, I highly recommend George Roy Hill's "The World According to Garp" starring Robin Williams and Glenn Close. This movie does a better job at preserving Irving's voice as well as the caustic humor that is sorely missing in "The Cider House Rules."

One (1997)

Small-scale film-making at its finest

[25 October 2000]

This is one of the best films I have seen all year! It is just a shame that it hasn't gotten the huge audience that it deserves. I hope that my comments won't be the only ones posted on this great film.

"One" is about a young man, Charlie, just released from prison, and his relationship with his best friend, Nick, an ex-baseball player living at home with his parents. Though it may be simplistic in terms of plot, there is more than meets the eye. Both men are in transitional stages and each view their station in life very differently. Despite his criminal record and the restrictions it places on his life, Charlie aspires to be a teacher. He longs to begin his life afresh, and his motivations are genuine. Nick, on the other hand, foolishly quits his job as a garbage man in order to pursue a professional baseball career. What makes these two men different is what motivates them toward their respective goals. Charlie's motivation to be a teacher is intrinsic, while Nick's motivation to be a professional baseball player is extrinsic, in that he only sees a career in baseball in terms of profit.

What I really like about this movie is its unobtrusive style. As I was watching it in the theater, I had the feeling of watching a photograph develop. It lets you take in a little at a time, but you can't keep your eyes off it. Tony Barbieri's direction is very subtle, and full of depth. I really admired some of the evocative camera angles. There were several shots in the movie that place us, the audience, outside the scenes. For instance, the camera is positioned outside a door to a room where two characters are having a conversation. It made me feel like I was eavesdropping on someone. It also created a feeling of restriction. These shots were offset by a few others which place the characters in wide open spaces (a beach or a baseball field), which suggest potential for growth. Both of these themes (restriction and potential) are very much what "One" is about.

Again, I hope more people see this film and post their comments! I really hate being the only one up here! Please see "One" at your nearest theater while it is still playing. It will give you plenty to think about afterwards.

Rosemary's Baby (1968)

Why wasn't Mia Farrow nominated?? (mild spoiler)

[12 October 2000]

"Rosemary's Baby" is, without a doubt, my favorite horror film. Instead of relying on blood and violence to scare audiences it uses genuine psychological tension. This film shows that you don't need to witness gore and violence in order to be scared.

I think what makes this movie scary and disturbing is the fact that all these terrible things are happening to such an innocent, trusting and helpless character like Rosemary. Casting the then 22-year-old Mia Farrow was ideal. A delicate beauty, Farrow projects Rosemary's vulnerability to perfection. Never have I felt sorry for a character the way I feel sorry for Rosemary in this film. The paranoia and tension she experiences throughout the film is contagious.

You can particularly empathize with her at the party scene when her girlfriends are comforting her in the kitchen. What makes this scene so painful is that it shows how truly alone Rosemary is, the way her pent-up anxiety pours out in the presence of her estranged friends. The compassion she receives is very moving. The scene where she contacts Dr. Hill from the phone booth is another one of my favorites, because it gives you a nervous feeling in the pit of your stomach as well as a glimmer of hope that someone may finally believe and help Rosemary. The fact that we trust Dr. Hill the way Rosemary trusts him makes his ultimate betrayal all the more horrifying.

It is too bad that Roman Polanski's most recent films aren't of this caliber. Before he directed "Rosemary's Baby" he directed "Repulsion", another great psychological thriller. Both of these movies are creepy in ways most movies are not. The apartments in both films provide great atmosphere. To anyone who happens to read this review, I urge you to rent both this film and "Repulsion" for Halloween night. They make a great double feature!

Smiling Fish & Goat on Fire (1999)

Banal

[9 October 2000]

I heard quite a lot of pre-release buzz for "Smiling Fish and Goat on Fire" so naturally I planned on seeing it as soon as it hit theaters.

I must disagree with most of the other IMDB reviewers, sad to say. The movie did have its funny moments, but I have seen this type of independent romantic comedy soooo many times already. It just isn't as fresh and original as so many people have been hailing it to be.

I think the fact that this movie was made for only $40,000 is admirable. But that doesn't mean that it is a good film. The chemistry between Chris (Derick Martini) and the Italian animal wrangler was lacking. I didn't know what she saw in him, to be honest. The scenes between Chris and his soon-to-be ex-girlfriend Ali were much more intriguing.

The movie might have also been a little more interesting if it explored Tony's (Steven Martini) womanizing a bit further. It would have provided great tension in his growing relationship with the mail-woman. But instead all we get is his instant rapport with her cute, but way-too-precocious, little girl. Steven Martini has a lot of appeal, but there was no conflict in this relationship to keep my attention. ZZZZZzzzzzzz.....

I really hate to be the wet blanket as far as this movie is concerned, but it didn't really live up to my expectations. For a better and fresher independent romantic comedy, I would recommend "The Tao of Steve."

Dancer in the Dark (2000)

Approach this intense movie with caution

[6 October 2000]

I just saw "Dancer in the Dark" a few hours ago, and I am in awe. I had been anticipating this film ever since I heard I heard that Lars von Trier (one of my very favorite filmmakers) was collaborating with Bjork, whose music I adore. And Catherine Deneuve is in it too!

This film is so emotionally intense and brutal that there were moments when I seriously felt on the verge of vomiting. I am not kidding. It is simply very painful to see such a lovable, innocent character like Bjork's Selma go through so much mental torture that I felt as if I were experiencing the same anguish vicariously through her. Thank goodness for the uplifting musical interludes. Any film that could have such a strong effect on a viewer is truly remarkable.

Like Emily Watson in "Breaking the Waves", Bjork is a force of nature in this film. She gives a stunning and unforgettable performance, one that will hopefully be remembered at Oscar time. The music she composed and performs in the film is astounding.

This movie is a very strong companion piece to Lars von Trier's similarly-themed "Breaking the Waves." Although I consider "Breaking the Waves" to be von Trier's best film, "Dancer in the Dark" comes pretty close. To dismiss it as "Breaking the Waves Part 2" would be unfair. "Dancer in the Dark" stands alone, mostly because of the terrific musical numbers. Lars von Trier, the master behind other great films like "The Kingdom Part 1 and 2" and "Zentropa", is a force to be reckoned with. He is one of the most innovative and convention-defying directors out there.

"Dancer in the Dark" is a movie that needs to be seen by anyone who likes being challenged by the movies he or she sees. It is emotionally raw, dreamlike, nightmarish, exhilarating, and enchanting. I also recommend that it be seen while still in theaters, as it is best viewed on the big screen. I will be seeing this one again in the near future!

Urbania (2000)

A unique film that demands multiple viewings

[25 September 2000]

Finally! A gay-themed movie with some depth! It is REALLY refreshing to see a movie about gay men that goes beyond their sexual orientation. It seems that most gay-themed movies in recent years are just about teenagers coming out to their parents. Although some of these films have been good ("Edge of Seventeen" for example), it is very nice to see a movie where the main character's sexuality is not the focal point of the film. While homosexuality plays a substantial role in what "Urbania" is about, it is not the centerpiece of the story. This film actually has a hauntingly resonant story, well-written and memorable characters, a terrific ensemble cast, and brilliant direction by Jon Shear in a directorial debut.

I really loved how this film was directed in a non-linear fashion. You only gradually learn why the main character, Charlie, (Dan Futterman in a great performance) is so troubled. The climax of the film and the resolution are both heart-stopping and cathartic. And there are many great scenes that lead up to this finale that are alternately hilarious and emotionally moving.

One of the best of the year 2000. I think I will see it again.

Howards End (1992)

One of my all time favorite movies.

[7 September 2000]

"Howards End" is certainly one of the best films of the last decade. I have seen this film several times over the past 7 years and each time I find myself in complete awe. I love how its intricate story gradually unfolds layer by layer, involving us more and more with the characters. "Howards End" also boasts breath-taking cinematography by Tony Pierce-Roberts and a rousing and rueful musical score by Richard Robbins.

The ensemble cast is perhaps the best reason to see this film. Emma Thompson won the Best Actress Oscar for her performance, and deservedly so! This is her best performance and her best film, in my opinion. I loved watching the character development in her portrayal of Margaret Schlegel, as she transforms from an open-minded intellectual to a class-conscious social climber. What's remarkable is that we still feel for her greatly as she is going through this transition. She still remains a sympathetic character up until the very end when she slowly comes back to her senses.

Anthony Hopkins also gives one of his best performances as the cold and hypocritical Henry Wilcox. So many scenes shed different lights onto his character. The scene where he proposes to Margaret stands out in particular. There is plenty of erotic tension, but at the same time it almost feels like he is making some sort of impersonal business venture with her.

Vanessa Redgrave is a presence to behold as the fragile Ruth Wilcox. Her performance may be brief, but it leaves an indelible mark, particularly in later scenes when Margaret visits Howards End. Helena Bonham Carter should have gotten an Oscar nomination for her performance. She really has great depth and passion that is well-suited to her character. The rest of the supporting cast is superb. Even the minor characters like Nicola Duffet's Jackie Bast and Jemma Redgrave's stony-faced Evie Wilcox are noteworthy.

"Howards End" is one of the richest, most nuanced films I have seen. It is beautifully shot, well-acted, and exquisitely directed. It deserves to be considered a classic.

The Sound of Music (1965)

Timeless classic

[7 September 2000]

I just bought the new DVD version of "The Sound of Music" and I am just as in love with this musical as I was when I saw it for the first time as a third grader some 10-15 years ago. And I still get teased for liking this movie!

I can understand why some people might be turned off. This movie has been called "corny." And while some of the dialogue is questionable at times, the songs more than make up for it. They are all very delightful and catchy, from "How Do You Solve a Problem Like Maria?" to "Do-Re-Mi." If you see this movie, don't be surprised if you find yourself singing the songs to yourself days afterwards. They are simply infectious!

The actors also transcend the occasional shortcomings of the dialogue. The von Trapp children are energetic and likeable. I especially liked Liesl, played by Charmian Carr. The scene where she sings "16 Going on 17" with Rolf is unforgettable. It is a shame that "The Sound of Music" is Carr's only film. She really has great talent.

Julie Andrews will always be remembered for this film. You just fall in love with her from the moment she opens her mouth to sing the opening song. Christopher Plummer is also terrific as Captain von Trapp. Every time I watch the scene where he sings "Edelweiss" to his children, I am genuinely moved.

I also loved the sexual tension between Maria and Captain von Trapp. I know that this movie is a "family film", but even as a child I found it strangely erotic, particularly the party scene where Maria and Captain von Trapp dance together in the courtyard. The tender love scene between Maria and the Captain after he breaks up with the Baroness is also very erotically charged.

This movie is definitely one of the most sentimental films I have seen. To some people, this is a bad thing. But I bet if they gave this movie half a chance, it wouldn't take long for them to be enchanted. It is such a great, moving story. The photography is breathtaking, the actors are wonderful, and the songs and choreography are not to be missed.

Wonderland (1999)

Amazing ensemble acting!

[25 August 2000]

I went into "Wonderland" not knowing much about what it was about. I left the theater feeling completely exhilarated, owing greatly to the wonderful acting by every cast member in this film.

"Wonderland" (directed by Michael Winterbottom) is structured very similarly to such films as "Happiness", "Playing by Heart", and "Magnolia" with its interconnecting stories. It takes its time before the relationships between the characters are revealed. But it is worth the wait. The interconnecting stories get more and more emotionally involving as they develop. All the characters in this film are so human. I especially liked the scene where the father (Jack Shepherd) visits his neighbor upon being locked out of his house. The moment where he and the neighbor dance with each other is so tender and subtle that it can't be described. See the movie and you will know what I am talking about.

Molly Parker is also terrific as the young expectant mother. Her expressive face is very heart-rending and disarming at times. But it is unfair to single out one or two performers in this particular film, as the rest of the cast is superb. This movie is also aided by a wonderful musical score by Michael Nyman, who also composed the scores for "The Piano" and "The Cook, the Thief, His Wife & Her Lover."

I recommend this movie to anyone who enjoys watching actors portray real people. You will be in for a real treat.

American Beauty (1999)

Every rose has its thorn

[3 August 2000]

I have seen "American Beauty" a total of four times. The first time I saw it, I was stunned. But with each additional viewing, I found myself less and less impressed.

This is not to say that "American Beauty" is a mediocre movie. I think it is great, in that it gives viewers plenty to think about in terms of everyday issues like one's identity, suburban ennui, personal responsibility, fantasy and repression. It also has great performances all around. Kevin Spacey and Annette Bening are memorable in their roles. Mena Suvari has a particularly poignant scene with Kevin Spacey within the film's final ten minutes. And why wasn't Wes Bentley nominated for a Best Supporting Actor Oscar?

My problem with "American Beauty" lies with Kevin Spacey's character Lester Burnham and how the movie leads the viewer to believe that he is "the hero." I must admit that I found myself rooting for Lester the first time I saw this movie. But with subsequent viewings I found that there was little to nothing heroic about him. In fact, I found him repulsive at times. For example, there's the scene where his daughter (Thora Birch) confronts him about his not-so-subtle fawning for her best friend Angela (Mena Suvari). He quips back, "You better be careful, Jane. Or you're going to turn into a real bitch just like your mother!" If I remember correctly, this line was met with plenty of applause and laughter from the audience. I actually thought that this was a horrible thing for a father to say to his teenage daughter. Jane has every right to be angry with him! But the movie leads the audience to be more sympathetic to Lester. This is only one of several examples of misogyny in "American Beauty."

Annette Bening's character, Carolyn, also suffers at the expense of Lester's metamorphosis. "American Beauty" would have benefited greatly had it presented Carolyn in a more sympathetic manner. While Lester is "the hero" of the film, Carolyn is presented as this shrill harpy with very few redeeming qualities. This film does afford Carolyn some potentially sympathetic moments where the audience feels for her, but they never really come into fruition. Ultimately, she is more of a cartoon character than she is a real person to whom an audience member can relate.

My final complaint about "American Beauty" is that it gives the viewer a little too much to swallow. Some of it was just too implausible and unlikely for me to completely buy it. It asks the viewer to accept too much on simple faith. One thing that jumps to mind is when Ricky Fitts (a terrific Wes Bentley) reveals to Jane that he has $40,000 saved up from all of his drug deals and he asks her to run away with him. And she accepts. Maybe I am just naive, but I find it very unlikely that an 18-year-old would have that kind of money even if he is a big-time drug dealer. Not to mention being able to get away with it under the vigilant eyes of a strict father (Chris Cooper). And I didn't completely buy Ricky and Jane's relationship either. What would compel her to become romantically involved with someone who obsessively videotapes her in an almost menacing way?

Despite all this quibbling, I do think "American Beauty" is a worthwhile film to see. I thought its boldness was very fresh, for the most part. It is very watchable, with plenty of characters and scenes to savor. It also features great cinematography and music. Just don't be fooled by the heavy accolades it has been getting from critics who treat it as if it's the second coming.

Felicia's Journey (1999)

Leave this movie alone!!

[10 July 2000]

I must admit that I was dubious about this film after reading so many lukewarm reviews by film critics upon its theatrical run last November. However, after viewing this film on DVD I can say with all confidence that "Felicia's Journey" is the best excuse to ignore what critics have to say.

Don't get me wrong. I don't think this movie is for everyone. Although Atom Egoyan had great success with "The Sweet Hereafter", it is too much to expect the same kind of universal praise for his more idiosyncratic films. Not all of his films were as audience-friendly as "The Sweet Hereafter". I use the word "audience-friendly" for lack of a better word; that film was about a tragic school bus accident for goodness sake!

I can understand why some people posted comments on this movie complaining that it is "too weird." There were several weird elements in this film, from Arsinee Khanjian's over-the-top performance as Hilditch's mother to the climactic face-off between Hilditch and Miss Calligary (a.k.a. "the religious woman") But I loved all these weird moments in the film. It gave it such a tense, unsettling feeling that is lacking in most conventional movies about serial killers. For those of you who think "Felicia's Journey" is too weird, you should try watching Egoyan's earlier movies like "The Adjuster" and "Speaking Parts"!

Although "Felicia's Journey" did feel long at some points, I must say that I was never bored during it. I felt completely absorbed in the strangely uncomfortable relationship between Elaine Cassidy's Felicia and Bob Hoskins' Hilditch. This movie did not have to have a bloody climax depicting a violent escape from Hilditch's clutches. The abuses suffered by Felicia may have been subtle, but they were sufficiently disturbing.

I highly recommend this movie, but I realize that it is not for everyone. However, I do have to contend with the people who posted comments that complained that this movie was "boring." Atom Egoyan's films are certainly challenging, but never dull.

The Falls (1980)

Unbearable and indecipherable

[10 July 2000]

I consider myself a fan of Peter Greenaway, and maybe since I only sat through 20 minutes of this movie, I shouldn't be giving it such a harsh review. But I can't help myself.

I can't believe people actually liked this movie. I thought it was sheer torture! I went to a screening of this movie with my sister at the Harvard Film Archive a few months ago. After ten minutes of sitting through unintelligible dialogue and grainy photography, I thought to myself, "I have to sit through 3 hours of this?!" To my relief, my sister shared my feelings about the movie and we left the screening after another generous ten minutes.

I hope I am not offending any ardent Greenaway fans out there. I like his movies too! I even met him 3 years ago at the Boston premiere of "The Pillow Book." I consider myself an intelligent person, and I like to see plenty of experimental movies. After reading the above comments on "The Falls" however, I am amazed that other people understood what it was about....and actually sat through it!

Diabolique (1955)

Turn off the lights and turn on this movie!!

[10 July 2000]

To anyone who has seen this masterpiece of suspense, you will know that I am not exaggerating when I call it one of the best thrillers of all time.

I first saw "Les Diaboliques" in the theater three years ago, and it left such an impression that I felt compelled to purchase the Criterion DVD just recently. Even after knowing what happens at the end of this movie won't spoil future viewings. It is great at just about every level, from writing to acting to direction. Vera Clouzot and Simone Signoret make a fantastic duo, and Paul Meurisse, an unforgettable villain. The plot twists and turns without ever seeming too convoluted or contrived. Every action and character motivation is believable.

This movie puts most current thrillers to shame. I can't name too many films of recent past that have taken my breath away such as this one. This is exactly the type of movie that I feel like pushing on everyone I meet, which is most likely why I am writing this review.

Take my advice: This movie is best seen with all the lights turned off.