snc1980 Reviews

The Gift (2000)

Paranormal Whodunnit

[28 September 2001]

As if we didn't have enough ghostly little tales in the past few years (The Sixth Sense, Stir Of Echoes, etc.), another comes down the pike with an interesting twist - the main character doesn't see ghosts, but she definitely knows when people are going to die. The idea for the story supposedly based upon the psychic abilities of Virginia Faulkner Thornton (Billy Bob Thornton's mother - she predicted his Oscar win), `The Gift' is a trim little package of murder, trepidation and the supernatural, peppered with an all-star cast and crew of Oscar winners (Swank, Thornton) and nominees (Blanchett, Kinnear, Harris).

Annie Wilson (Blanchett) is a humble mother of three quietly making a living in fictional Brixton, GA off of social security from her husband's death and performing psychic readings for the townspeople. Her recitations consist of one burning taper and a bizarre deck of cards with various symbols (star, circle, wavy lines, etc.) printed on them. Her abilities as a clairvoyant are honest and true but (wouldn't you know it) Brixton is a backwoods community full of conservatives, skeptics and zealous Christians that believe the reserved widow is a practicing witch. One man in particular named Donnie Barksdale (Reeves) harbors a special hatred for Annie because his battered wife Valerie (Swank) has been visiting the psychic's home on a regular basis to receive readings. Donnie harasses Annie, making direct threats to her and her sons and even breaking into her home to creatively render the word `Satan' with her cosmic deck. When Jessica King, the aristocratic daughter (Holmes) of a Brixton bigwig, turns up missing Annie has a vision that will help the BPD locate her. She is at first snubbed by the chief of police for her marked reputation but when authorities finally take a chance on her, Jessica's body is found on Donnie Barksdale's property and he is immediately taken into custody for her murder. There's a bigger game afoot however, and Annie must single-handedly solve the mystery before the killer attempts to silence her permanently.

Blanchett does her best to look simultaneously frightened and determined as Annie, a woman who is against all odds. We already have proof of her abilities as a dramatic actress (Elizabeth, Paradise Road) and she is not disappointing here, sporting a decent Georgian accent and making her character human despite her inhuman abilities. Holmes looks too young for her role and it's hard to fathom the chemistry between the 22-year-old actress and her 38-year-old co-star Kinnear (my husband even remarked that she looked like a teenager wearing her mother's clothes). It's even more weird to see her sexing up `Office Space' yeeah-guy Gary Cole (who is 45) in a scene involving bathroom whoopie. I guess it's just another case of casting directors pitting a beautiful ingénue with a handsome fogey twice their age (a la Richard Gere/Winona Ryder, Bo Derek/Dudley Moore, etc.). Kinnear does an admirable job as Wayne Collins, but a project like this is too simple an undertaking for his acting skills; most likely it was a labor of love for him. Reeves actually manages to himself seem intimidating as Donnie Barksdale and Swank plays another dimwitted southerner minus the sexual identity crisis. Oscar nominee Rosemary Harris makes a brief appearance as Blanchett's intuitive grandmother.

Ribisi is the standout here as the erratic Buddy Cole, a man who is consistently on the precipice of a psychological meltdown. He is a blubbering, tearful mess one minute, hot-blooded and precarious the next. What is really compelling about Ribisi's performance is the inner turmoil divulged in his roan and expressive eyes. We know all we need to know about his character's struggle to stay sane simply by surveying his face. Not a lot of actors have the ability to embody their characters in this way and Ribisi is to be commended for making Buddy a dynamic and remarkable individual. Although he has yet to get the Academy's attention, the future looks incredibly bright for him and it's almost certain that he will become a hot commodity in the next few years.

`The Gift' delivers most of what it promises but sci-fi/horror fans will most likely be disappointed by its artsy approach (compliments of director Sam Raimi), its failure to scare the bejesus out of them (The Gift has MINOR scares) and its sad predictability. The story manages to point an accusing finger at everyone but about halfway through (or even sooner, depending how attentive one is) it's easy to identify the culprit. If you're looking for a semi-suspenseful flick with a distinct and talented cast, `The Gift' is an ideal and enjoyable rent.

Dogma (1999)

Get Thee To New Jersey!

[28 September 2001]

This is Kevin Smith's gleeful romp into the most controversial of all subjects: religion. He takes some nasty shots at the orthodox methods and belief structure of Catholicism in this cranked-up bit about two renegade angels trying to get back into heaven after disobeying their Creator and being cast down into the hell of all hells: Wisconsin. Smith has the tendency to be preachy and overwrought in detail of his thoughts and opinions when writing a script, and this movie allows him the perfect opportunity to sound off from all sides through his diverse and zany cast of characters. Everyone is their own religious theorist that has the tiresome tendency to progress simple dialogue into long-winded sermons stuffed chock-full of theological banter. It is easier to take this time around since he has splashed his nonconforming and adroit sense of humor about the place, lightening a situation when it becomes too thought-provoking or dense for some.

His amusing supposition of God is that the Divine One is an avid skeeball player and, once in a while, converts his Almighty aura to human flesh so he can drop in at the local arcade to play a few rounds. But evil forces are about, and three dirty little adolescents called the Stygian triplets beat the Almighty's frail body to the ground with their hockey sticks of death, capturing the deity and holding him against his will as a threat to the stability of Heaven and Earth collectively. Skip to an airport somewhere in hell, er, Wisconsin where Bartleby (Affleck) and Loki (Damon), the above-mentioned renegades, begin their plotting to get back into paradise. The process of how and why is explained as Bartleby convinces Loki to get involved and they begin their trek across the US to reach a small church in New Jersey, the place where the existing backdoor lies in wait for their entry.

Little do they know, an ancestor of the Almighty has just been chosen to prevent their reentry and her name is Bethany Sloane, a simple citizen of Earth who works at, of all places, an abortion clinic. If the criticism of the medieval and unruly ethics of Catholicism wasn't enough, Smith has the balls to include the hostile, rampant war between pro and anti-abortionists. She is visited in the night by the Holy host Metatron, the substituted voice of God and messenger to her quest. This is when the movie gets good. Smith couldn't have done better when he cast Alan Rickman as the sardonic seraphim. His raw delivery but gentle presence is a pleasure above all the casting choices he has made in the past, good and bad. Rickman alone is worth the watch with his rapier wit and polished experience.

Granted, Ben and Matt are the perfect pair, seeing as how they're childhood friends, personal acquaintances of the director and have already shown what they're capable of in their Oscar-winning film `Good Will Hunting'. The only problem I have with them is that when they're working together in this movie, it's like watching `Good Will Hunting' again, only with a livelier story line and a deeper moral. They seem to be playing themselves more than they're playing Bartleby and Loki. This `He's my best buddy and I want to include him in every movie I'm starring in' crap is getting a little old. Of course, with an Oscar sitting on their mantle, they won't need to find each other jobs for quite a while.

Chris Rock was a hilarious original as Rufus, the 13th apostle of God purposely unaccounted for in the bible because of his race. He drops the usual mottled routine he heralds on-stage, substituting a subtler charm and snappier humor. George Carlin is perfect as the sanctimonious highflyer Cardinal Glick, a vicar who doggedly campaigns the modernized and worship-friendly changes to Catholicism. His transition into Glick's ambitious persona is done with the greatest ease, proving once again that he is a wonder to behold on a movie set as well as in front of a live audience. Carlin's skilled comedic prowess makes donning the priestly robes the ultimate irony and he delivers the holy haughtiness of Glick's character with dexterity and precision.

Who I really thought was an interesting choice on Smith's part is Linda Fiorentino as the Last Scion. Judging by her failures in movies such as the forgettable 80's fop `Gotcha!' and the cheap sex thriller `Jade' (not to mention acting alongside David Caruso), Linda is taking a step up from martyrdom as Bethany, the bitter child of God who cures her lost faith by saving the world from total damnation. There are other actresses who had their foot in the door for this part, but Linda seems to have that special, sexy charm that can't be compared.

Smith has done well so far, picking himself up when he's fallen down, but not without words. How can we expect any less of our belligerent and quarrelsome screenwriter? His mouth has gotten him many places, and may his working mind continue to keep him decent in his writing.

Chasing Amy (1997)

Smith Goes Soft For A Favorable Change

[28 September 2001]

***SPOILERS*** ***SPOILERS*** So far in Kevin Smith's film career, `Chasing Amy' is his `Driving Miss Daisy' of movie achievements. He went from sardonic, sophomoric comedy to earthly, emotional realism, putting forth an intensely magnified story of sexuality and the fragile boundaries of love. His writing maturated into a tale well told involving common debate ground for customary issues, the ongoing battle of the sexes and the dire consequences of traversing to the other side of our ironclad gender coalitions.

The ill-fated tale begins with two twenty-somethings working together on their well-renowned comic book `Bluntman and Chronic'. Banky Edwards (Jason Lee) and Holden McNeil (Ben Affleck) are lifelong friends, and what better way to spoil their friendship than to bring a woman into the picture. Enter Hooper X, the author of a pro-black comic with a pronounced hedonistic and riotous reputation that belies his true nature: he's as flamboyantly gay as they come. Hooper X is stereotypically but nonetheless hilariously portrayed by talented beau Dwight Ewell. He garners most of the laughs in this film to keep Smith's deeply emotive content from getting too serious. He acquaints a fellow comrade from the gay community to Banky and Holden at a comic book convention, unbeknownst to three of them that this mere introduction is the beginning of a whirlwind of emotional conflict.

The name of the whirlwind is Alyssa Jones, and upon their first meeting, Holden is on a mission to claim her. It's not until he and his wisecracking companion are invited to an outing at a gay bar does Holden realize Alyssa is a bona fide lesbian and his conquest for a breathless fling is shattered. Unfettered by her conspicuous sexual agenda, Alyssa pursues a warm and trusting friendship with Holden, spending time with him over the months, generally palling around and having a good time. After a stretch, Holden recognizes that his feelings for Alyssa are beyond platonic, and this is the point in the movie when everything straight becomes askew (no pun intended).

Banky consistently intercedes, knowledgeable of Holden's threshold of tolerance for relationships. He advises him that his newfound adoration will not have a pretty ending, but Holden and Alyssa are bull-headedly driven by their honest affections and defy the odds, including the coarse rebuff from her once-loyal lesbian clique. Eventually, provided the impossible circumstances and Banky's mistrust for Alyssa's sordid past, their relationship unravels and abruptly ends over a heated argument and a woeful awareness of the impossibility of their happiness.

Smith's writing and direction is in top form in his third installment of young adult films, reprising his references to notorious characters of the past, including Alyssa Jones herself, Brandy Spenning, and the unintended necrophiliac Caitlin Bree. He ties all of his stories together closely, showing us what a small world it is, especially in New Jersey. It also comes as no surprise that Joey Lauren Adams was entitled to the lead role, being Kevin's girl and all (at the time). She actually proved to be a greater actress than I thought, amidst her nasal screaming and profane dialogue. Jason Lee has gotten better over the years, but it's like he's going back to his Brody routine with all the endless diatribes he goes on. His character is witty, but Smith is stereotyping his acting ability every step of the way by always making him the sideman. Jason Mewes is much improved here, abating his hyperactive methodology for a more subdued and genuine disposition. Smith even poked fun at his own work by mocking the ridiculous `Snootchy Bootchie' dialect that Mewes popularized. A lot of the actor's lines are Smith's self-effacing humor, and they clash perfectly amongst the love and heartbreak of the movie.

Lastly, we have Ben Affleck as the sensitive chap, a warm and welcome presence after the total slimeball he played in Smith's horror of a screenplay `Mallrats'. That material was well beneath him, and thank God Smith made it up to him by offering him the part of Holden. Ben is obviously the diamond in the rough here, fine-tuning the level of interest in the audience with his natural-born charisma. Let's face it: this man is gorgeous, a head-turner. There's no way you can take your eyes off him, nor ignore that beautiful smile. He was perfect for this part and made you feel for him every step of the way. Women will watch this film and wonder, `Where the hell can I find a man like THAT?!!?'

To sum all the parts, this is a very worthwhile film and can touch a lot of people, especially if they've loved and lost for whatever reason at some point in their lives. This is far from cinematic genius and I don't think Smith will ever be capable of creating a masterpiece, but his raw sincerity and whole-hearted approach is meaningful and direct. That alone is enough to help one gain a new or amended perspective of life, love and art.

How to Make an American Quilt (1995)

Adultery, Indecision and Needlepoint

[28 September 2001]

This adaptation by screenwriter Jane Anderson (novel by Whitney Otto) presents us with a character named Finn Dodd (Ryder), a 26-year old college student who has just gotten engaged to her long-time sweetheart Sam (Mulroney). She begins to realize the many changes that will come about because of her acceptance to his proposal and needs time to think and adjust. She decides to spend three months at her grandma Hy's house in Grasse, CA, which is the center of operations to a longtime quilting bee. During her tenure, she continues working on her master's thesis (a project of which she continuously changes her topic), all the while listening to the quilting bee's romantic horror stories as they craft Finn's wedding quilt.

To sum it up, `How To Make An American Quilt' is the quintessential chick flick awash with many familiar faces including Maya Angelou. The Pulitzer Prize-winning poet stars as Anna, the queen of an eight-member sewing circle consisting of Glady Jo Cleary (Anne Bancroft), Hy Cleary (Ellen Burstyn), her daughter Marianna (Alfre Woodard), Em Reed (Jean Simmons), Constance Saunders (Kate Nelligan) and Sophia Darling (Lois Smith). Anna winds up in the Cleary household at 16 - pregnant, unmarried and helpless. She will dwell there until the birth of her child, meeting Hy and Glady Jo for the first time. Little does she know that these two young women will remain in her life for years afterward, their interest and skill in the art of quilting mounting over the years by Anna's guidance.

There is also the story of Hy and Glady Jo themselves and their unspoken bitterness towards each other - we learn that Hy is the reason for Glady Jo's `self-expression' all over the walls of the laundry room. Then there is Sophia, an aspiring diver in her adolescence and later an abandoned mother of three; Em, wife to a histrionic artist, suffering his recurrent infidelity; Constance, a decent woman who endures the loss of her nearest and dearest, left with only her precious memories and Marianna, a lover of many but starved for the discovery of her soulmate.

We find as the film goes on that many instances of infidelity exist in the characters' cluttered histories. Half the women in this movie commit adultery at some point and even Finn falls victim to temptation. Where as once I could not relate, I find myself agreeing with many of Finn's thoughts and opinions on marriage upon becoming engaged - this includes a question in the very beginning that Ryder's voiceover poses to the audience: `How do you merge into this thing called 'a couple', and still keep a little room for yourself? How do we even know we're only supposed to be with one person for the rest of our lives?' These kinds of questions number in the hundreds of intended couples as they come closer to walking the proverbial aisle. I know that I have had my own reservations about marriage ever since I got engaged and many of my questions will never have an answer - I must trust my heart.and my gut.

Performances range in the areas of premium to mediocre. Who comes at the top of my list are screen veterans (and Academy Award winners, natch) Ellen Burstyn and Anne Bancroft. These two never cease to amaze me with how they can turn a character inside out and make it their own. Winona Ryder is so-so (as she is in most of her movies) as Finn but she does manage to touch a few nerves with her dark and luminous eyes - those pretty peepers are half of her dramatic capacity. Alfre Woodard is excellent, giving Marianna a carved edge but a soft core. Kate Nelligan is also wonderful but if you really wanna see her flex those acting chops, take a deep breath of Lila Wingo in `The Prince of Tides'. Dermot Mulroney always seems to play a nice guy that gets taken for granted (The Thing Called Love, My Best Friend's Wedding, Point Of No Return, etc.) and he does it again here - actis repeatus, you might say. Jean Simmons is a little disappointing as Em, the once beautiful and poised actress now only a shadow of herself. Maya Angelou does fine as Anna and some of Gen X's more popular faces make brief appearances in supporting roles (Claire Danes, Samantha Mathis, Jared Leto and Jonathan Schaech).

This film is a fairly even script-to-screen production and will please many that seek a decent character study. Of course, you can't outdo a detailed and poetic novel or the insightful author who writes it. As long as novelists continue to exist and evolve, filmic adaptations cannot compare (though there are a few exceptions here and there, e.g. Dolores Claiborne). This is not to say that `How To Make An American Quilt' isn't enjoyable - it's just not on par with what can be translated through literature. For those who have read Otto's novel, it will earn your rigid criticism.

High Art (1998)

Not The Traditional Love Story

[12 December 2000]

This is the torrid tale of a young innocent, relentless ambition, homosexuality, drugs, seduction and the abstruse, dreamy world of art. It combines the complex struggle for critical achievement and the allurement of a naive stairclimber in the ladder of success, the relationship between the reclusive artisan and the emulous ingenue developing into something more than the beauty of their love and the complications it instigates in those around them. Syd, a young assistant editor for a photography magazine, discovers one night that an artistic genius lives upstairs from her after fixing a leak in her bathroom. She examines her work exhibited all over the walls of her apartment and persuades her fellow co-workers to display her neighbor's creations in Frame (the magazine). She soon finds out that her newly acquainted tenant is a renowned photographer named Lucy Berliner, a lesbian freelancer who has done nothing but avoid the limelight for the past few years. Syd doggedly entreats Lucy to consider a return to the business and soon finds herself in the tornado of Lucy's wild and self-destructive lifestyle. Her drug-addicted friends and melodramatic lover Greta are the poison of Lucy's private society, a group of people who freely associate with each other sexually and socially. Lucy is their sovereign and they are conveniently her muses for her craft. Syd wets her feet in Lucy's strange circle of companions and in turn develops an intimate knowledge of Lucy's quirks and methods for inspiration, becoming her confidant and ultimately her lover. Radha Mitchell (Syd) and the intriguing, poignant comeback performance of the one-and-only Breakfast Club alumni Ally Sheedy, portray both leads with indefectible representation. Radha is hypnotizing but endearing and Sheedy is raw and sincere. Both tend to compliment the other whenever they are together, their portrayal of the other's affections plausible and tender.

Who really turns up the action in this film is Patricia Clarkson, the eccentric and egotistical Greta Krauss, an actress and former lover who thrives off the attentions of Lucy's affections and who ultimately becomes the thorn in her side. This was very well directed, and independent films are usually the gems of the movie industry because they are not under the thumb of critical and financial stress while being produced. This story is heart-breaking but nonetheless mesmerizing, and I have to say that although most people might find this film a little somnolent, I think it displays a lot of unmarked talent and discerning screen-writing for avoiding the overly-romantic passions that most movies like to dish out. This movie is not about romance. It is about the unfettered and unrefined courses that real relationships have, and a respectful depiction of lesbianic relations.

If you're looking to add an unusual and memorable piece to your movie athenaeum, then I beg you to consider High Art. It will be a well-thought purchase with nary a regret.

Gia (1998 TV Movie)

HBO Delivers

[12 December 2000]

Kudos to a clever script, smart direction and the magnificent performances of Angelina Jolie, Mercedes Ruehl and Elizabeth Mitchell. Sometimes some of the best movies are the ones that never make it to theaters. HBO has a history of recognized original films, and this is one that I would definitely recommend to anyone who has a fascination with the world of modeling and show business.

Jolie, who is quite a character herself, creates an accurate and stunning portrayal of the model who burned out as quickly as she rose to fame in the ever-evolving world of fashion and modeling. Spiraling downwards into a world of drugs, sex and violence, Carangi lived hard and died young, her face forever immortalized by the lens that first discovered her raw and intriguing appeal. No doubt about it, she is an unforgettable icon in the industry, such as the scene indicates where she rudely carves her name into the receptionist's counter at the modeling agency who immediately takes her under their wing and turns her from a feisty and fearless teenager into a seductive and ethereal glamour goddess. Now this was a performance well-warranted of recognition and the Golden Globes knew that, thus presenting Jolie with its high honors as Best Actress.

Mercedes Ruehl was the perfect narrator for the story, Gia's forlorn mother, boning up her daughter's legacy with childhood memories and the typical endearments only mothers could enjoy. Then there's the wonderful supporting role of Linda, Gia's on-again off-again girlfriend, who is played with wonderful restraint by Elizabeth Williams. The only character with enough sense to try to get miles away from Gia's destructive behavior and crumbling sense of self-worth. She tries relentlessly to lead Gia astray from her powerful addictions (promiscuity, heroin, etc.), but loses her fight each time. Her love is honest and deep, but her will to stay sane is even stronger.

It's a sad story to tell, but nevertheless it's told well, and although you won't be smiling when it's over, you'll be very much impressed by the acting and the directing. Five stars it is, and this definitely won't be a waste of money to the person who chooses to buy, lest they aren't convinced by my gushing review!