back2wsoc Reviews

Cyber Seduction: His Secret Life (2005 TV Movie)

The "Reefer Madness" of online pornography!

[1/10 · 18 December 2009]

I can't spend too much time writing this review (on account that I'm laughing SOOOO hard at watching this movie at the present moment) so I'll sum it up in a nutshell: Chaste would be an extremely gross understatement of this cheesy exposé on how a model, All-American sophomore teenager (with a piously flirty c**ktease of a GF)--who is a popular swim champ--goes to a seniors' party and is introduced to the sinful demon seed of porn. This is some hilarious camp, and the emoting has to be seen to be believed. What's really sad is seeing how far Kelly Lynch, who made a great impact in 1989's "Drugstore Cowboy" (which, incidentally, treated that film's subject matter--pill addiction--with the brutal candor that this film painfully lacks) has sunk career-wise. And, ughhh...the obvious question: just how did this porn-surfing miscreant come to even exist? By procreative methods more graphic than ANYTHING in this dreck, I assure you; that's the hypocritical part. If you've ever wanted to see some G-rated porn, then this dud's for you.

*Note: One might just have to be a reefer addict to sit through this one.

The Nun's Story (1959)

Poignant story told with great care and sensitivity; one of Hepburn's best roles.

[10/10 · 3 January 2008]

Simply said, this is one of Audrey Hepburn's most superlative performances. Not that she's ever given a bad one, mind you (no, not even in "Bloodline" (1979); that was just a bad film). Here, she convincingly portrays a young nun who goes through various stages in the convent as she battles within herself and tries to uphold the humility of her vows. Her range is extraordinary, as are the compassionate performances of a great supporting cast (Dames Edith Evans and Peggy Ashcroft, Peter Finch, Mildred Dunnock, Beatrice Straight and Dean Jagger). Colleen Dewhurst, in a brief cameo as a dangerous asylum patient, could give Hannibal Lecter a run for his money any day (she could very well be his mother!) The scenes with Hepburn's Sister Luke interacting with the impoverished children in the Congo is almost a foretelling allusion to the great real-life work that Hepburn would do in Africa in real life some 30 years later. Another great achievement from Fred Zinnemann. ****

Entourage (2004–2011)

An incredibly acerbic and down-to-earth account of normal life in Hollywood's out-of-camera circle.

[9/10 · 14 January 2007]

"Entourage", created by Doug Ellin, charts the lives and experiences of young heartthrob actor Vincent Chase (Adrian Grenier) and his close circle of boyhood friends: Eric (Kevin Connolly), who is now his manager, Turtle (Jerry Ferrara), the jersey-wearing, 'blinging' goofball with a lot of wisdom, and Johnny "Drama" Chase (Kevin Dillon) as Vincent's older wiseguy brother. The show mainly focuses on Vincent's escapades with his charismatic agent Ari Gold (Emmy winner Jeremy Piven ("Old School")), a man of all style and just a smidgeon of substance, yet also focuses of the four main characters' youthful lives of clubhopping and dating in mid-2000s Hollywood. All of the writers, producers and escpecially the creator and actors deserve huge praise for bringing to light the down-to-earth, chill, yet "smarmy" side of H-Wood to us.

Walk the Line (2005)

Oscar-caliber performances in this truthful telling of Johnny Cash's early life

[10/10 · 26 November 2005]

Joaquin Phoenix and Reese Witherspoon give incredible portrayals of the early Johnny Cash and June Carter in this effort of James Mangold ("Girl, Interrupted"). The film chronicles the early career of Cash and his life, marred by thoughts of guilt over the death of his older brother (a topic expressly probed in 1980's "Ordinary People"). Phoenix truly embodies The Man In Black's persona as a young man (in an Academy Award worthy role) , and Witherspoon completely sheds her persona of being a sweet-natured good girl (a la "Legally Blonde" and "Sweet Home Alabama") with a mature, Oscar-worthy performance of June Carter, and her solo on the autoharp is worthy of a nomination itself. Phoenix captures all of Cash's early demons, from his first marriage to Vivian (Ginnifer Goodwin), to his historical meeting with Sam Phillips (Dallas Roberts), to his notoriously volatile courtship of June and their engagement in 1968, the same year of Cash's "Folsom Prison Blues" in concert. This film is definitely a must-see. Give these roles a thorough look-see and extreme consideration come Awards time. ***1/2 of ****

The Panic in Needle Park (1971)

Excellent depiction of the dehumanizing effect(s) drugs have in our society.

[9/10 · 4 August 2005]

Underrated director Jerry Schatzberg ("Scarecrow", "The Seduction of Joe Tynan") brings to the screen one of the most realistic films about drug addiction I have ever seen. "TPINP" is the story of Bobby (Al Pacino, pre-Corleone), a small time heroin addict and hustler who becomes attracted to the quiet, shy and drug-free Helen (Kitty Winn, of "The Exorcist" fame) and slowly seduces her into his world of addiction, broken lives, paranoia and desperation. Their love-hate relationship is tracked through a series of incredibly well-acted vignettes (my favorite being the heartrending ferry scene in which Helen realizes her new dog has fell overboard) authentically filmed in New York City by Adam Holender. Adapted by Joan Didion and John Gregory Dunne from the book by James Mills, "TPINP" Won Winn Best Actress honors at the Cannes Film Festival, but oddly, she and Pacino were shut out of the Lead Actor and Actress Oscar competition here at home. A great film, not to be overlooked. Al Pacino's revelatory work in this film grabbed the attention of director Francis Ford Coppola, and the rest is history. Available on VHS. ***1/2 out of ****

Rosemary's Baby (1968)

Riveting modern day horror chiller from Polanski

[30 July 2005]

"Rosemary's Baby", adapted by director Roman Polanski from Ira Levin's ("The Stepford Wives") novel, tells the tale of awe-inducing, mind-numbing witchcraft in late 60s Manhattan. Guy and Rosemary Woodhouse (John Cassavetes and Mia Farrow) move into the grand Dakota, and are immediately seen as the All-American couple: He's an aspiring actor, and she is a dutiful young woman hoping to conceive a labor of love. They are immediately befriended by the Castevet's, Roman (a terrifically menacing Sidney Blackmer) and Minnie (Best Supporting Actress scene-stealer Ruth Gordon), who lead the pregnant young woman through dis-invigorating hell. A terrific script, score (by Krzysztof Komeda), and minor supporting roles from Patsy Kelly as childish Laura-Louise, Charles Grodin as Dr. Hill, Rosemary's seemingly good-natured obstetrician, and Dr. Sapirstein (a stern, Ralph Bellamy) round out this incredible ensemble. Only complaint: Where was Mia Farrow's Oscar nomination? Or Best Picture? ****of****

The Interpreter (2005)

An Intelligent and Frightening film

[9/10 · 26 April 2005]

Sydney Pollack, the Oscar-winning director of such acclaimed films as "They Shoot Horses, Don't They?"(1969), "The Three Days of the Condor"(1975), "Tootsie"(1982), and "Out of Africa"(1985) has brought us another great escapist entertainment thanks to screenwriters Charles Randolph, Scott Frank and Steven Zaillian from Martin Stellman and Brian Ward's story. Silvia Broome (Nicole Kidman in another Oscar-caliber performance) is a young woman making a living as a U.N. translator who overhears a murder plot that involves the president of Maboto, a fictional African country. Sean Penn gives a much more under-the-radar (but no less stunning) performance as Tobin Keller, an FBI agent with many hang-ups on his own, as he is assigned to protect the fragile yet cryptic and secretive Silvia along with his partner, Dot Woods (Catherine Keener, doing her best clichéd "I'm right here, boss" girl Friday routine. It's a shame, because she's an incredible actress) from the African assassins who know what she knows. With a Hollywood that is rampant with remakes and sequels, it is SO refreshing to see a movie that has a real story told by someone who has been a maverick force in bringing movies out of the norm and into the realistic, hair-raising, and quaint lifestyles of the audiences of today. This film WILL be remembered at Oscar time. ***1/2 of ****

Laws of Attraction (2004)

Sweet, delightful romantic comedy

[17 June 2004]

"Laws of Attraction" is the story of two high-powered New York divorce attorneys, Daniel Rafferty (Pierce Brosnan) and Audrey Woods (Julianne Moore) who are on opposite sides of a case involving a punk rocker and his estranged wife. The film seems to have very few lulls, but the lulls are still there. The film is concise and humorous, and after seeing her turgid turns in recent films like "Hannibal", "The Hours" and "Far From Heaven", it is nice to see Julianne Moore in a lighter role. The same goes for Brosnan, taking a respite from his globe-trotting superspy, James Bond. Frances Fisher offers deadpan support as Moore's aging mother. "Laws of Attraction" is a cute romantic farce very reminiscent of "Adam's Rib", the original battle-of-the sexes comedy with the classic pairing of Hepburn and Tracy. ***of****

Mystic River (2003)

Trenchant, somber production with several potent vignettes

[29 April 2004]

Dennis Lehane's "Mystic River", adapted by Brian Helgeland and directed by Clint Eastwood, is a coming-of-age tale/character study/murder mystery with marginally compelling results. As young boys growing up in a working class section of Boston, Jimmy Markum, Sean Devine and Dave Boyle spent their days reveling in their youthful innocence until one event drastically alters the course of their lives, Dave Boyle's in particular. Thirty years later, Jimmy Markum's eldest daughter is found dead, and the three old friends (whose lives took separate paths) are reunited under less than harmonious circumstances. Later, Dave is targeted as a suspect in the girl's death. Sean, now a police detective (Kevin Bacon), along with his partner Whitey Powers (Laurence Fishburne), is assigned to the investigation. From here dramatic fireworks erupt in key scenes such as when Jimmy discovers what has happened to his daughter, when a shaken Dave comes home covered in blood to his stunned wife, Celeste (Marcia Gay Harden in a perfectly crafted, Oscar-nominated portrayal), when Celeste confides in Jimmy about Dave, and Jimmy and Dave's final confrontation. The only main character who seems woefully misplaced is Annabeth (Laura Linney), Jimmy's second wife. She has very few scenes anyway, and doesn't know what to do with the scant screen time she has. Annabeth has a powerful speech towards the end, but parts of it defy comprehension. She has a dramatic point to make, but it only comes across halfway. The same argument for Fishburne's stereotypical role as a sarcastic, platitude-uttering cop. He just doesn't bring much depth to his role. The real meat of the film lies in the deeply emotional (and personal) performances of Sean Penn, as Markum, and Tim Robbins, as Boyle (both men won Oscars for their gripping work). Bacon is good, too, as Devine, but the subplot involving his faceless wife is extremely diverting (this must be the story's way of involving his personal background). Also, what conclusion(s) can the viewer make from the final scene? A mixed bag by Eastwood, but undeniably compelling. ***

21 Grams (2003)

Gritty, generally effective character study

[27 April 2004]

"21 Grams", directed by Alejandro González Iñárritu and written by Guillermo Arriaga, is the story of three individuals, perfect strangers, whose lives come together in a dramatically shattering climax. Sean Penn (magnetic as always) is Prof. Paul Rivers, who is in desperate need of a heart transplant; Jack Jordan (Benicio Del Toro) is a born-again felon readjusting to life with his wife (Melissa Leo) and his two children; Cristina Peck (Naomi Watts) is a cleaned-up drug addict who lives with her husband and two daughters in a upper-middle-class community. The basic storyline is that Jordan accidentally hits Cristina's husband and children, killing her daughters. She decides to pull her husband Michael (Danny Huston) off of life support and donate his heart. Paul, anxious to know the identity of the anonymous donor, hires a private investigator to find out who she is. He meets with Cristina and is immediately attracted to her, sacrificing his own troubled marriage to Mary (Charlotte Gainsbourg), who wants to be artificially inseminated before his inevitable demise. Wracked with guilt and anguish, Cristina asks Paul to help kill Jack, the man responsible for her loss and her relapse into drug addiction. The three seperate stories jump back and forth, unchronologically, but the plot is so compelling, as are all the performances, that you are drawn in after the first ten minutes and are unable to look away. Iñárritu takes us on a heartwrenching journey into pity, love, self-worth, self-degradation, vengeance and redemption and never lets go. The only questionable flaw; the Hollywoodized boy-meets-girl way that Paul meets Cristina at the cafeteria. Overall, a powerful, penetrating view into the many facets of life and personal responsibility. Well-deserved Oscar nods went to Watts (Best Actress) and Del Toro (Best Supporting Actor). A must-see journey! ***1/2

Leave Her to Heaven (1945)

Torrid melodrama filmed in gorgeous Technicolor

[27 April 2004]

Gene Tierney gives a lethal, Oscar-nominated performance in this lush drama (by Jo Swerling, from the Ben Ames Williams novel) about a woman who has to have what she wants , they way she wants it...or else. At first meeting, Ellen Berent (Tierney) and Richard Harland (Cornel Wilde) are just two strangers on a train. Although cool and aloof at first, Ellen soon warms up to Harland when she realizes he's the author of the book she's so thoroughly engrossed in. Harland soon joins Ellen's family at their Maine summer house, where he meets Ellen's cousin, Ruth (Jeanne Crain), a quiet contrast to the emotional, temperamental Ellen. Afterwards, Ellen and Richard marry, but when others start taking Richard's attention away from Ellen (including his crippled kid brother, Danny), she gets even. A very adult soap opera that delivers, despite the clichéd melodramatics that almost sink this sumptuous production. With a first-rate score by Alfred Newman, Art Direction-Set Decoration by Maurice Ransford and Lyle R. Wheeler and Oscar-winning cinematography by Leon Shamroy, "Leave Her to Heaven" is a vivid, breathtaking spectacle. Also, watch for the bone-chilling scene on the lake! ***

Odds Against Tomorrow (1959)

Starkly photographed, brutal, well acted character study/caper

[24 March 2004]

Oscar-winning director Robert Wise ("West Side Story", "The Sound of Music") directs Harry Belafonte, Robert Ryan, Shelley Winters and Ed Begley to masterful performances in this grounbreaking, revelatory film. Earl Slater (Ryan) is a bigoted small-time petty thief with a supportive but hapless live-in lover (Winters). Johnny Ingram (Belafonte) is a down on his luck hustler/drummer who gets involved with a bank robbery scheme with Dave Burke (Begley). Slater is also in on the heist, but must come to terms with his racist views with Ingram in order to pull off the plan. This is an incredibly clear-eyed, no holds barred look at the kind of segregation that was alive at the time, with superb performances by all, including Gloria Grahame as Ryan and Winters' love-starved neighbor, Helen, and Kim Hamilton as Belafonte's ex-wife, Ruth. The film dosen't resort to theatrics to build its tension; that comes naturally, due to excellent ensemble work by the cast, a great jazz score by John Lewis and Joseph C. Brun's gritty camerawork. An influential, brilliant film, not to be missed. ***1/2

Monster (2003)

Fact-based drama features unforgettable performances from Theron and Ricci.

[11 March 2004]

Patty Jenkins' "Monster" is the real life story of recently executed prostitute and serial killer Aileen Wuornos, who murdered a series of men between 1989 and 1990. The film focuses on that time period and Wuornos' budding lesbian relationship with Selby Wall, a quiet, shy young girl looking for companionship. The film dosen't attempt to glamorize Wuornos' life, but it does paint a shocking portrait of why she killed her "johns", problems dating back to her childhood. Until now, Charlize Theron has just been seen in decorative supporting parts ("That Thing You Do!", "The Cider House Rules" and "The Italian Job"), but this time, she IS the lead character, and she IS Aileen Wuornos. Her Oscar-winning portrayal of the emotionally broken and suffering Wuornos is devastatingly real and brilliant. Kudos to Christina Ricci, as well, for her quiet, fierce, award-caliber role as Selby. Their scenes together are intensely effective, but ther are also scenes with Wuornos and her "johns" that are quite heartbreaking as well: the vignette when she is with an equally broken, stammering man named Gene (Pruitt Taylor Vince), and the shockingly realistic scene with Horton (Scott Wilson), a middle-aged passerby who unsuspectingly gives the young woman a ride, little expecting the danger in store. From beginning to end, "Monster" is a powerful tour-de-force and a cinematic achievement. ***1/2

Some Like It Hot (1959)

Irrepressibly funny and frantic film; excellent performances

[4 March 2004]

Billy Wilder's "Some Like It Hot" opens in 1929 Chicago and follows the desperation of musicians Joe "Josephine" (Tony Curtis) and Jerry "Daphne" (Jack Lemmon) to get out of town after witnessing the St. Valentine's Day massacre. The solution? Board a train to Miami posing as girls with an all-female band! Everything about Wilder and I.A.L. Diamond's script is hilariously pitch-perfect, including the train sequence, the meeting of Daphne and Osgood Fielding (Joe E. Brown, whose closing line is a gem), and the yacht sequence with Joe and the sweetly dim-witted Sugar Kane (the incomparable Marilyn Monroe, who gives one of her best comic performances). Side-splitting support from George Raft, Pat O'Brien and Joan Shawlee add to the fun. Oscar winner for Best B&W Costume design (Orry-Kelly). A definite must-see comedy classic! ****

Finding Nemo (2003)

A delightful film for kids and adults alike!

[18 December 2003]

"Finding Nemo", Pixar's latest project, is a wonderful story about the unbreakable bonds of father and son. Clownfish Marlin (voiced by Albert Brooks) is an overprotective father who tries to shield his underdeveloped son Nemo (voiced by Alexander Gould) from the ills of the underwater world. One day Nemo is caught in a net by a fisherman, and with the help of a friendly and forgetful fish named Dory (voiced by Ellen DeGeneres), the duo go about trying to locate the missing boy-fish, encountering various characters along the way (from a shark in rehab to a family of sea turtles). A wonderfully fresh and inspiring film, this box-office hit can only get better with each viewing. A winner. ***1/2

It's a Mad Mad Mad Mad World (1963)

One of the most nuttiest and exuberant screwball comedies ever!

[9 December 2003]

Taking a respite from the gritty, highly-charged dramas ("The Defiant Ones", "Inherit the Wind", "Judgment at Nuremburg") he was known for, Stanley Kramer goes lighthearted with this expansive, multi-charactered laugh fest about a disperate group of people (from an addle-brained dentist to an outrageously candid mother-in-law) who witness a car accident in the Califonia desert, and its dying occupant (Jimmy Durante), who tells them of a great fortune buried under a "big W" in Santa Rosita State Park. From there, the money-driven spectators crawl, fly, ride and vie to grab the dough for themselves, all while being monitored by police Capt. T.G. Culpepper (Spencer Tracy). Throughout, the film is peppered with hilarious cameos by Jack Benny, The Three Stooges, Don Knotts, Jerry Lewis and many others. Every frame of this film is golden, and is filled with classic scenes (The "keys in the cleavage", the two plane sequences, the basement explosion, the destruction of the filling station, the search for the "Big W", the taxi chase and the fire engine scenes are just a small part of this completely entertaining romp about greed and materialism. Co-starring Sid Caesar, Edie Adams, Mickey Rooney, Buddy Hackett, Terry-Thomas, Milton Berle, Johnathan Winters, Dorothy Provine, Peter Falk, Eddie "Rochester" Anderson, Phil Silvers, Dick Shawn, and in an unjustly un-nominated performance, Ethel Merman as Mrs. Marcus, THE definitive meddling mother-in-law. Great fun! ***1/2

The Graduate (1967)

Classic late 60s mosaic of youth angst and alienation

[13 September 2003]

One of the most treasured relics of a landmark era, "The Graduate" is the story of Benjamin Braddock (Dustin Hoffman in his star-making role), a 21-year old milquetoast who seems a little worried about his future. After graduating college, he dosen't seem to have any direction or prospects. At a welcome home party given by his parents, he crosses paths with Mrs. Robinson (Anne Bancroft, who is marvelous), a middle-aged alcoholic friend of his parents. She asks him to drive her home. He does. She asks him to have a drink. He does. She asks him to see her daughter Elaine's portrait. He does. She asks him to have an affair. Boy, does he! Their "relationship" gets all the more complicated when Ben falls for Elaine (Katharine Ross) to Mrs. Robinson's chagrin. This film is splendid in every way--the soundtrack by Simon and Garfunkel, observations about the vain lives of southern Californians, and the repression of sexual emotions and feelings--and never takes itself too seriously. Extremely interesting contrast of Ben's nervous relationship with Mrs. Robinson in the first half, and his boy-meets-girl relationship with Elaine in the second half. Loaded with celebrity cameos (inc. Alice Ghostley, Marion Lorne, Norman Fell and even a young Richard Dreyfuss). Peerless script by Calder Willingham and Buck Henry (who's seen here as the hotel desk clerk) from the Charles Webb novel. Among its seven Oscar nods (three being for Hoffman, Bancroft and Ross), Mike Nichols won for his pitch-perfect direction. A timeless classic about youthful disillusionment. ****

Long Day's Journey Into Night (1962)

Emotionally draining filmization of the O'Neill play

[5 June 2003]

"Long Day's Journey Into Night", taken from Eugene O'Neill's original play written between 1939 and 1941, is a telling, semiautobiographical account of one day in the lives of the broken Tyrone family. Mary, the wife (Katharine Hepburn in an wrenching, afflicting performance that earned her an Oscar nod) is mentally unstable and takes morphine to steady her nerves. Her constant berating of her inebriated actor husband James (Sir Ralph Richardson) serves as embarrassment for him and his sons, James Jr. (Jason Robards), an alcoholic free spirit, and Edmund (Dean Stockwell, in a senitive and effective performance), the frail son dying of tuberculosis. A stagy film, to be sure, but the dialogue is spoken which such anger and despair that it is impossible to dislike. Also, during the day, it seems as if the family is cordial and polite, but when darkness falls, everyone unleashes their belittling venom on each other, thus symbolizing the contrast between day and night. This quartet of fine performers were awarded honors at the Cannes Film Festival for their painstaking work on this overpowering masterpiece. A great early achievement from legendary director Sidney Lumet. ****

The Pianist (2002)

Heartbreaking, real-life account of one man's journey through the brutality of war.

[4 June 2003]

The opening sequence of "The Pianist" shows a pensive young man sitting at his piano, playing a sonata. Soon, bombs burst everywhere, leading to a swift evacuation of war-torn Poland. "The Pianist", written by Ronald Harwood from the memoirs of Polish Jew Wladyslaw Szpilman (1912-2000), is heart-tugging moviemaking at its peak. Adrien Brody is compelling as the beaten but not defeated Szpilman, who amazingly survived the German invaision over a five-year period (but lost his entire family). His struggle to secure food, shelter and elude murderous German officers is often painful and unbearable to watch, but during these troubled times, serves to remind us of the senseless brutality of war. The supporting cast is also incrdible, including Emilia Fox as Dorota, one of Szpilman's admirers who aids him during his peril, and Thomas Kretschmann's small role near the end as Captain Wilm Hosenfeld, the German officer who spared Szpilman's life when he caught the pianist in hiding, is fine as well. Roman Polanski's most personal film to date may also be his best. Three Oscars for Best Actor, Director and Adapted Screenplay. A moving, immensely powerful story. ****

Sunday Bloody Sunday (1971)

Talky but moody, rewarding character study

[31 May 2003]

Peter Finch, Glenda Jackson, screenwriter Penelope Gilliatt and director John Schlesinger all received respective Oscar nominations for their work on this modern story of perverse pain and lust. Dr. Daniel Hirsh (Finch), who is gay, and divorcee Alex Greville (Jackson) share one unconventional thing in common: the love of Bob Elkin (Murray Head), a handsome, indeterminate, bisexual starving artist who alternates between the two when the feeling moves him. This leads to much autoanalysis by Hirsh and Alex, who finally come to the realization that this "arrangement" cannot last and that Bob is being fickle with the two of them. While several scenes seem awfully unnecessary and unrewarding (the sequence with the family dog; Dr. Hirsh's encounter with another lover (Jon Finch); Alex's chat with 'mum' (Peggy Ashcroft)), the film's determined realism does come across in several compactly executed scenes. While "SBS" does not hold up like Schlesinger's better fare (such as "Darling" and "Midnight Cowboy"), his effort to bring to the screen such stark subject matter doesn't go unnoticed. Head is OK, but Finch and Jackson are superb. *** of ****

Chicago (2002)

Razzle-dazzle re-creation of the Broadway smash; fairly entertaining

[30 May 2003]

Bright lights, jazzy tunes and show-stopping musical numbers are the main assets of "Chicago", adapted by Bill Condon from the Bob Fosse-Fred Ebb stage musical, which itself was an reworking of Maurine Dallas Watkins' original play. The basic story line is about two showgirls, one famous, the other a wide-eyed starlet, who both kill their worthless swains in fits of jealousy and go to the 'big house'. Enter bribe-taking prison warden "Mama" Morton (Queen Latifah), grudging, flamboyant lawyer Billy Flynn (a surprisingly buoyant Richard Gere) and a stepped-on husband (John C. Reilly, whose "Mr. Cellophane number is a highlight), and you've got the makings of carefree, nonthink amusement. While the musical numbers deliver the goods, the story is filled with many plot holes that are covered up with dazzling visual imagery. The libidinous lives of the main characters make it extremely hard to feel any real emotion for them or to care about them at all. However, "Chicago" still grabs attention with numbers like "All That Jazz" "When You're Good to Mama" and "Cellblock Tango". Winner of six Oscars, including Best Picture and a no-account Best Supporting Actress victory for Catherine Zeta-Jones as Velma Kelly, the femme with all style and no substance. Renee Zellweger, on the other hand, is remarkable as apple-cheeked murderess Roxie Hart. Energetic direction by first-timer Rob Marshall. **1/2 of ****

Antwone Fisher (2002)

Washington's directorial debut is triumphant psychological drama

[27 May 2003]

"Antwone Fisher" marks two time Oscar-winner Denzel Washington's first shot at directing. The based-on-fact story, written by the real-life Fisher, chronicles his early days in the Navy, where his deeply rooted childhood trauma resurfaces and threatens to put his career in jeopardy. He is referred to Naval psychiatrist Lt. Jerome Davenport (Washington) who helps the reluctant Fisher come out of his shell and deal with his problems, including finding the family he never knew. A refreshingly stark and well-acted film that dosen't purport to "ghettoizing" the problems of Blacks and certainly dosen't stereotype them, either. Intelligent direction, writing and performances (notably by newcomer Derek Luke as Fisher, with sensitive support by Joy Bryant as his girlfriend, Cheryl) make "Antwone Fisher" an unforgettable movie experience. ***1/2 of ****

Adaptation. (2002)

An eccentric seriocomic foray into orchidaceous dementia

[21 May 2003]

They've done it again! "Being John Malkovich" director Spike Jonze and screenwriter Charlie Kaufman are back with another sublimely kinky, surreal tale, this time depicting the intermingling conflicts between three people involved in the adaptation (no pun intended) to the screen of Susan Orlean's "The Orchid Thief". Nicolas Cage (in an Oscar-nominated turn nothing short of brilliant) stars as Kaufman and his fictional twin brother Donald, both of whom are trying to write their own respective scripts, with Donald flourishing and Charlie remaining stagnant due to a series of mid-life crises (e.g. an incapability to approach women) and a case of writer's block. Orlean (wittily played by the incomparable Meryl Streep, who snagged a Golden Globe and an Oscar nod), a staff writer for The New Yorker, travels to Florida in order to write a story on ethereal, strange, and toothless horticulturist John Laroche (Chris Cooper), whose devotion to plants---orchids in particular---arouses the interest of the usually diffident Orlean. Soon, Orlean and Laroche's "relationship" becomes personal and strangely romantic, which arouses Charlie's interest, leading the story into dark territory with shocking results. In an time where moviemaking tends to become more and more routine, Jonze and Kaufman are mavericks at creating interesting and outrageous characters that perversely make sense and capture an audience's attention. If "BJM" and "Adaptation" are any indication of what to expect from these two genuises, then we shall be exquisitely entertained for years to come. Cooper's astounding portrayal of the toothless haggard won him a well-deserved Best Supporting Actor Oscar and Golden Globe. ****

The Hours (2002)

Stagy yet satisfying adaptation of Pulitzer Prize-winning novel

[19 May 2003]

"The Hours" is an emotionally effective screen rendition of the Michael Cunningham novel about one day in the lives of three different women in three different time periods. The first story takes place in 1923 England, where tragic, suicidal "Mrs. Dalloway" authoress Virginia Woolf (hauntingly portrayed by Nicole Kidman) resides, whose day to day life in her London suburb provides endless suffocation and misery. Fast forward to 1951 Los Angeles, where housewife Laura Brown (Julianne Moore) has taken to reading "Mrs. Dalloway", and finds several parallels between the main character's pain and suffering and her own, even though she has a perpetually cheerful husband (John C. Reilly) and a loving, if quizzical son, Richard (Jack Rovello). Her day grows more more wrenching with each passing hour, from a passionate liplock with her best friend Kitty Barlowe (Toni Collette), to a spellbinding climax in a California hotel room. The final story is set in New York City, 2001: Clarissa "Mrs. Dalloway" Vaughan (Meryl Streep), a lesbian book editor, is preparing a party in honor of her friend, AIDS-stricken poet Richard Brown (Ed Harris, the adult son of 50s heroine Laura Brown). Clarissa attempts to keep up appearances, but underneath she is tormented to see her friend hurting so pitifully. Rich and full performances by the entire cast (Kidman, Moore and Harris in particular) help keep this tripartitive film from becoming 'lost' and going in different directions; instead what unfolds is a touching work of art that freely lets its characters indulge in their anger and despair in order to find redemption, no matter what the cost. Kidman, virtually unrecognizable as Woolf, won a Best Actress Academy Award, and Moore, Harris, writer David Hare and director Stephen Daldry were among the film's other eight nominees. Wonderful viewing. ***1/2 of ****

Catch Me If You Can (2002)

Singular Spielberg effort makes for great entertainment

[15 May 2003]

"Catch Me If You Can", written by Jeff Nathanson from Frank W. Abagnale and Stan Redding's novel of the same name, is based on the real-life story of Abagnale (Leonardo DiCaprio), whose life fell apart in 1963 when his parents Paula and Frank, Sr. (Nathalie Baye and Christopher Walken) lost their house and subsequently divorced. Not wanting to fall short of the American Dream like his father, Abagnale pulls a few forging tricks out of his hat and soon finds himself as an airline pilot, a doctor and a Louisiana lawyer, all before he turned 18! Expensive clothes, plush suites and gorgeous women are now accessible because of his newfound 'gift' of deception. He goes unnoticed until FBI Agent Carl Hanratty (Tom Hanks, very effective in a supporting role) picks up on his exploits and is determined to nab him. This sets in motion a tireless game of wits between the two men. Colorful sets and nostalgic backdrops gives the film its 'look', but the real juice comes from the cat-and-mouse teaming of DiCaprio and Hanks, with fine support from Walken, Baye, Jennifer Garner (in a memorably amusing cameo as a seductive prostitute) and Amy Adams (as Abagnale's nymphet wife, Brenda). Very similar in nature to "The Thomas Crown Affair", this engrossing (if overlong) caper won Oscar nominations for Walken and composer John Williams. *** of ****