robertrosado Reviews

The Loved Ones (2009)

Imaginative, frightening, delightful.

[10/10 · 10 October 2010]

The horror genre is in as sad a state as ever. But it's not for lack of trying. The talent is there. The fan base is there. The possibilities are there. The main issue is a lack of common sense on behalf of producers and distribution companies. As with 2009's fabulous anthology "Trick 'r Treat", Australian-made "The Loved Ones" is a masterpiece that screened in numerous festivals to rave reviews from critics and audiences alike, only to be egregiously ignored by distributors. There is no way to justify how the much-maligned "Chain Letter" can open nationwide, while this bloodied gem must sit on the shelf, waiting for Hollywood to take notice. Writer-director Sean Byrne's auspicious debut is a cracked-out thrill ride, one that fans of the morbid and outrageous will eat up once given the chance to actually experience it.

High school senior Brent Mitchell (Xavier Samuel) is enjoying a leisurely drive with his father, when a mysterious figure appears in the road, causing Brent to crash directly into a tree. His father is killed instantly. Six months later, Brent has found himself in a pit of grievance. Obsessed with suicide and slowly withdrawing from his mother, he finds solace only in marijuana and his caring girlfriend, Holly (Victoria Thaine). When meek wallflower Lola Stone (Robin McLeavy) asks Brent to be her date to the end-of-school dance, he politely declines. Huge mistake. Before the end of the night, Brent will be abducted and bound, and discover that he has become a most unwilling guest to Lola's very own dream prom, hosted by her doting father (John Brumpton). The party favors? A rusty fork, a syringe, a hammer, and a power drill.

A quirky, suspenseful blend of 1986's "Pretty in Pink" and 1990's "Misery", "The Loved Ones" is a decidedly grotesque horror-comedy with more on its mind than merely grossing out audiences. By distilling the plot to its bare essentials, and not bogging down the proceedings in unnecessary exposition or explanation, director Byrne has crafted a lean, taut, perversely funny scare-a-thon. On top of that, it is not without relevant social implications, including the repercussions of grief, the indescribable hold that parents and children have on each other, and (yes) the fiery wrath of the high school female.

Byrne clearly has a respect and adoration for the genre, as he seems to have dissected exactly what it is about these films that audiences find appealing. The film is violent, to be sure, but just when it seems that the gore may become gratuitous or over-powering, an inspired stroke of dark comedy undercuts the action. As it stand, "The Loved Ones" recalls the reckless, rowdy spirit of the 80's, a time in which a committed group of filmmakers and actors pushed boundaries with the intent of taking the audience along for the journey. But at the same time, the picture is strikingly modern, forming its own identity with no intention of being a throwback.

Xavier Samuel is excellent as Brent, identifiable despite his character's gloomy condition. When the viewer first meets Brent, he is in an emotional wreck with no apparent hope for recovery. But when he finds himself staring death in the face, he must summon up every ounce of strength he possesses to fight back and survive. Victoria Thaine is a beacon of warmth as girlfriend Holly, who becomes fearful of Brent's whereabouts, and makes an effort to find him. John Brumpton is terrific as Eric Stone, a very sick man whose borderline-incestuous relationship with his daughter has sunk to unfathomable depths.

By and large, though, the film belongs to Robin McLeavy. Intent on making her party a diabolical night to remember, Lola is a villain far more threatening than initially thought possible. Because of the passion and focus she obviously brought to the role, McLeavy's portrayal transcends that of a one-note monster. Instead, she brilliantly interprets Lola as a petulant, psychotic little girl who doesn't take kindly to unrequited love, and sees her torture victims as toys in desperate need of fixing. Her chemistry with Brumpton is ripe with chaotic, demented hysteria. But it also rings true that they love - and need - each other. Lola Stone should join the canon of great horror villains, and that is not merely hyperbole.

The editing by Andy Canny is impeccably judged, keeping the story moving along at a nimble 84 minutes. Simon Chapman's cinematography is crisp, colorful, and drenched in mood. A highlight is the use of a disco ball that hangs in Lola's kitchen, casting romantic sparks of pink and purple over the sobering violence below. The soundtrack is energetic and well-chosen, making unforgettable use of Kasey Chambers' "Am I Not Pretty Enough?". Practical gore effects are used to illustrate the harm done to Brent and others, and they are perfection, always convincing and never once calling attention to themselves. And finally, special mention must go to Xanthe Huebel's costumes, particularly Lola's indelible hot pink dress. In every respect, the film could not look or sound better.

There are so few contemporary horror movies - let alone ones of the B.T.K. variety - that actually have something to say about the dark, unpredictable recesses of human nature, not to mention hold the ability to delight, intimidate, and ultimately satisfy even the most jaded fans. "The Loved Ones" is one such film. It is among the finest, most enjoyable movies the genre has seen in years, and seems destined for cult status. But in order for that to happen, it needs to be seen by the audience it so richly deserves.

NOTE: If you are thinking about looking up the trailer for this film............................ don't. It gives so much away, and part of the fun is the many surprises the movie has in store. If you absolutely must watch the trailer, stop it at exactly 1 minute!

Trick 'r Treat (2007)

A guaranteed classic of the horror genre.

[10/10 · 27 September 2009]

As a self-proclaimed connoisseur of the horror genre, I can safely say that I (along with legions of fellow fans) have waited in AGONY for two years over the release of Michael Dougherty's debut feature.

But, despite strong feedback from test screenings and film festivals, one had to wonder... What was keeping Warner Bros. from releasing the film? I mean, the theaters have been flooded with remakes and sequels and "Saw" movies consistently, and could "Trick 'r Treat" really not compete with them? And, even if the movie WAS released, would it live up to the hype that Warners had involuntarily created? Well, the movie has finally arrived to us... and it is a beast. A delicious, twisted, gleeful anthology, with the the four plot lines seamlessly interwoven. Connecting them all is the instantly iconic figure of Sam. This little guy, wearing nothing more than a scarecrow costume and a potato sack over his head, is the stuff nightmares are made of. For my money, he is Halloween's answer to Santa Claus or the Easter Bunny.

The screenplay is fresh and surprising, the pace is brisk, the tone is morbidly charming, and the cast is remarkably solid (Dylan Baker and Brian Cox are standouts). The film also features the kind of immaculate detail and thick autumnal atmosphere that any fan of cinema would appreciate, let alone the horror genre.

On top of that, the movie is scary. Really. Not in a deep, troubling "The Exorcist" way, but is reminiscent of the friendly shiver you get when being told a ghost story around a campfire. Doughterty's affection (obsession?) for the holiday is apparent in every last frame, with pumpkins, candy, shadows, foliage, and costumes being beautifully incorporated into the film's overall mood.

Mischief, mayhem, and gore are all over this cracked-out little gem, guaranteed to be a classic of the horror genre, not to mention an addition to my annual list of required viewing for October 31st.

Jackie Brown (1997)

Tarantino's secret weapon.

[10/10 · 4 February 2007]

In 1994, hip director Quentin Tarantino made a splashy debut with the intense and funny crime story, "Pulp Fiction". While he was lathered with acclaim and awards, many wondered what else this new kid on the block had up his sleeve. Was he a one-hit wonder? That question was answered in 1997, when Tarantino successfully adapted Elmore Leonard's classic novel, "Rum Punch". Jackie Brown (Pam Grier) is a tired, run-down flight attendant in her mid-forties. After years of clashing with the law, she finds herself at the bottom of the economical ladder. She is a woman who is very close to unemployment, and is scared to death that her life is coming to an end. She soon finds a lucrative opportunity in Ordell Robbie (Samuel L. Jackson), a fast-talking weapons dealer with a lot of money to his name. In the meantime, Jackie falls in love with Max Cherry (Robert Forster), a bail bondsman who shares similar concerns with Jackie...

In adapting "Rum Punch", Tarantino made one significant change: Instead of having the heroine, Jackie Burke, be a white woman, he would change her into a black woman. In doing so, he made the character, Jackie Brown (amended to refer to Grier's classic movie role, Foxy Brown), that much more desperate, and anxious to grasp on to what she has left. One wouldn't think that the jive-talking style of Tarantino would mesh well with the classy smooth language of Leonard, but that's what makes "Jackie Brown" such a unique work, as well as a gem of modern cinema.

Pam Grier ("Coffy") is absolutely sensational in the title role. Every facial expression and line delivery brings home the attitude and fears that Jackie has about the world around her. She is close to disappearing, but she's not ready to give up just yet. Grier is strong, sexy, and emotionally available. She is a splendid protagonist. Robert Forster ("Medium Cool") returns to the spotlight to give a nuanced performance as Max. As with Grier, it is the subtle touches that give Forster his color. In his eyes, body language, and vocal inflection, we can see the world-weariness that Cherry feels in everyday life, and more particularly, his occupation.

As Ordell, Samuel L. Jackson (who gave one of the finest performances of the nineties in "Pulp Fiction") does some of his funniest, most distinctive work here. When Jackson is on screen, you cannot take your eyes off him. He is charismatic, even if his character is truly repugnant. Being a fan of "Pulp", I was not surprised to see that Jackson can also be nightmarishly intimidating. While it may seem that he has been handed a thin character in first-class boob Louis Garrell, Robert De Niro's ("Meet the Parents") greatest achievement is actually making sense of a guy who says next to nothing for the duration of the running time. Like Forster, De Niro uses technique (and an odd sense of humor) to tell us everything that we need to know about him. Bridget Fonda ("A Simple Plan") gives her best performance yet as Melanie, the sneaky and ditsy beach bunny. Finally, Chris Tucker ("Rush Hour") works wonders in his brief role as Beaumont Livingston.

"Jackie Brown" has everything I have come to love about Tarantino's work: Eclectic casting choices, interesting shots, challenging material, and high intensity. But it also has something a bit more than that. Every time I view this movie, what continues to catch me off-guard in the sweet romance that blooms between Jackie and Cherry, and how genuine it is. It is refreshing to watch two beautiful, middle aged people share the same kind of intimacy that we usually see from much younger movie stars. "Jackie Brown" is the most unconventional of love stories, and that is what makes it so charming, and so alarmingly easy to connect with.

Another element that separates itself from the pumped-up action that Tarantino is so well-known for is the character development. One criticism that is constantly address is that the film moves very slowly. I have to disagree with this, as there is not one scene in present that does not either further the story along, or aid the audience in getting into the characters' heads. The leisurely pace of "Jackie Brown" works to its advantage. By the end of the film, these are not names on a script page; these are good friends. Tarantino also deserves credit for an elaborately-staged heist in the story's final act.

While "Pulp Fiction" and "Kill Bill" are Tarantino's more well-known works, "Jackie Brown" is a masterpiece that I hope will find an audience over the following years. It is deep, suspenseful, leisurely paced, and unexpectedly humorous. The best part? You don't even have to be a Tarantino fan to enjoy it.

A Prairie Home Companion (2006)

A wonderful experience.

[10/10 · 9 June 2006]

***1/2 out of **** Just got back from the movie. I really loved it. It's one of the best movies I've seen so far this year, and certainly the most entertaining Robert Altman in memory.

The whole cast is just amazing, and the chemistry between everyone works like a charm. John C. Reilly and Woody Harrelson are lovable as the cowboy duo. I really enjoyed Garrison Keillor's style and dry humor. Lindsay Lohan steals the film on a number of occasions, and she is stunning. Kevin Kline, once again, displays his incredible comedic timing. I loved Maya Rudolph's deadpan delivery, as well as Virginia Madsen's ethereal presence.

As expected, the two actresses who walk away with the film are Meryl Streep (a superb vocalist) and Lily Tomlin. They play beautifully off each other, and the camaraderie between them is touching, and played just right. Their "Goodbye to My Mama" is transcendent and unforgettable.

The whole movie is akin to a great, warm hug. I wish I could put it in better terms, but that's what it felt like. It's not weighty, but it is meaningful. It is, simply put, about the end of an era. During a late moment in the movie, Madsen, whose role I can't really discuss, says that listening to this show was like visiting a bunch of good friends. Couldn't have said it better myself. Experiencing these heaven-sent musical numbers - such as Reilly and Harrelson's hilarious "Bad Jokes", and Streep and Tomlin's sweeping "My Minnesota Home" - I ask myself: "Who needs television?" Except acting, screen writing, and costume design nominations from this one. It's a gem.

Brokeback Mountain (2005)

The best film of 2005.

[10/10 · 8 June 2006]

I first saw "Brokeback Mountain" when it first opened in theaters, late last year. I left the cinema shaken, and not exactly sure what to say. As I lay awake that night, my mind remained stuck on this film. No matter how hard I tried, I could not shake this tragic and powerful tale. I began to wonder: What happens to these characters after the credits begin to roll? When a movie buries itself so thoroughly into your subconscious, you know that it is something special. In the summer of 1963, young ranch hands Jack Twist (Jake Gyllenhaal) and Ennis Del Mar (Heath Ledger) are signed on to work together on a Wyoming mountain range. At first, their relationship is strained, with Jack having to coax the shy Ennis into speaking. Soon, their bond deepens into something that neither of them expected: they fall in love. Once the summer ends, Ennis marries his fiancée, Alma Beers (Michelle Williams), and Jack weds spoiled rodeo queen Lureen. Through the eventual unhappiness and heartbreak that follows, the two risk their careers and lives by trying, once and for all, to follow their hearts in a time of discrimination.

Plain and simple: This film is a masterpiece, as only a sturdy and brave filmmaker like Ang Lee could deliver. He's in control at every turn. The pacing, the silences, the tears... Not since "Ordinary People" have I seen a movie that so truthfully and beautifully embraces the human spirit. These are not characters, these are real people. Real enough to make legions to moviegoers around the world care, listen, and feel.

The performances are uniformly strong. Michelle Williams's startlingly moving work may be just what she needed to have a long and healthy career. She is brilliant as Alma, Ennis's unhappy wife. The expression on Williams's face when Alma discovers Jack and Ennis kissing is chilling in its accuracy. Williams builds the character's growing angst, cumulating in an outburst that feels organic. I don't know how Williams prepared for this scene, but it has to be seen to be believed. Anne Hathaway also shines as Lureen, Jack's trophy wife. As we see Lureen's gradual descent into animosity, Hathaway's performance reaches its peak during a phone conversation between Lureen and Ennis. She's excellent.

The rest of the cast is great, too. In a textbook example of ensemble acting, there are no slouchers here. Randy Quaid is stern and cold as Jack and Ennis's boss. The luminous Linda Cardellini, with approximately 15 to 20 lines, creates a believable human being in Cassie. Kate Mara is astonishing as Ennis's loyal daughter, leaving a lasting impression with only a handful of scenes. Anna Faris is refreshing and hilarious as LaShawn, Lureen's talkative friend. Finally, Canadian actress Roberta Maxwell makes a brief yet unforgettable appearance as Jack's mother. In a later scene with Ennis, she puts her hand on his shoulder, and whispers something to him. What she says, and how she says it, will send shivers down your spine.

However, the film belongs to Heath Ledger and Jake Gyllenhaal. Jake Gyllenhaal is spirited and earnest as Jack, playing him as a caring soul. Jack wants nothing more than to be with Ennis, knowing full well that it's impossible. It is when Jack becomes bitter and angry that Gyllenhaal's portrayal hits its stride. At the risk of sounding like a cliché, Ledger's Ennis del Mar is the soul of this picture, and he could not be more stunning. Who would have expected Ledger - whose credits include "10 Things I Hate About You", "A Knight's Tale", and the acclaimed "Monster's Ball" - to deliver a performance of such depth and frightening understanding? Ennis is a man who lies to himself for so long, only to realize that he has wasted his life, and possibly ruined the life of those he loves. Ledger makes this internal variance feel palpable and transcendent, using masterful choices in voice and body language to create a man who is conflicted with himself. This is a focused and thrilling performance that will go down in history.

Technically, the film is flawless. The costumes are well-suited to the characters, and are carefully aged with the story, as well as the make-up and hair. The cinematography, by Rodrigo Prieto, flawlessly captures the breathtaking landscapes, as well as the nuances of the story. The sparse score by Gustavo Santaolalla is haunting in its simplicity. The editing, by Geraldine Peroni and Dylan Tichenor, is smooth and the pace is neither rushed nor sluggish.

As great as the production values are, none of it would matter if it were not for Ang Lee. Lee wisely starts the movie on an awkward note, illuminating Jack and Ennis's uncomfortable connection with one another. Once the plot finds its direction, the story moves swiftly through the decades, without ever feeling either static or intermittent. Lee finds the genuineness and clarity in the story, and gets miraculous results from his cast and production team. The themes that the film sets itself upon are tricky. One wrong look, one wrong note, and the whole thing could collapse under its own weight. Lee does not let this happen. It is also to his credit that the love scenes between the two men are as tasteful and romantic as they deserve to be.

As the film draws to a close, the final scenes are played with a perfect, bittersweet note that subtly hints at what could have been, and what may be. And it all occurs without ever coming off as histrionic. Every once in a while, a movie is released that, for all intents and purposes, is flawless. A movie that is poetic, profound, skillfully made, and deeply felt. A movie that so diligently shakes the viewer to their very core, that is seems all but destined to become a classic. "Brokeback Mountain" is one of those movies. It's the best film of 2005, and it should not be forgotten.

X-Men: The Last Stand (2006)

Is that all?

[5/10 · 29 May 2006]

I'm an X-Men fan. I've been reading the comics and watching the cartoons since childhood, and I wouldn't be surprised if most of the people who have seen this movie have done the same. After the rousing success of "X2", I enjoyed it while I was watching it. It was entertaining, and I was never bored. However, when I walked out of the theater, it hit me how many opportunities were wasted. So many great moments, so many interesting characters... None of them utilized to their maximum potential. Warning: This will be a very candid, train-of-thought review.

Part of the problem is the screenplay. It's written by the same people who did "Elektra". Need I say more? Most of the dialogue is awful ("I'm the Juggernaut, bitch" What?). I also wish that the writers followed through with what they started. What ever happened to that rather intriguing friendship between Rogue and Logan? What about Angel, who should have had more screen time? What about Colussus, who certainly could have been featured more in the final battle? Was that REALLY the payoff that the Jean Grey/Scott Summer subplot deserved? Where the hell is Gambit?!?! What about more depth to the relationship between Magneto and Professor X? These two characters have years - decades, even - of back story. Where is it? Thankfully, actors like Patrick Stewart and Ian McKellen are around to do what they can.

And what about this "cure" that we keep hearing about? I was really interested, but there was very little explaining its creation. Nor, was there any struggle between the characters of who was to take the cure, and why. Rogue seemed to be the only one who was not only extremely eager to take it, but the only one who cared about the friggin' thing at all! I know that the final battle was directly related to the cure and all, but there was no dramatic build-up to speak of.

Another problem is the running time. I would have gladly sat through a two and a half hour movie if it offered any development of the ideas that the final product had raised. Hell, "X2" is one of the best superhero movies because it took its time, and it offered more than mindless action. Also, many of the characters aren't given nearly the time they should. Take Mystique, for example. It's almost as if Rebecca Romijn was in a rush to finish, and they compromised. Who could blame her? And Rogue -whom, I might add, was being set up in the first film to play a major part in the trilogy - does nothing to speak of. And, I do mean nothing.

Yet another problem is director is Brett Ratner. I enjoyed "Rush Hour" and especially "Red Dragon", but this guy seems to have no clue how to properly block, light, and shoot action sequences (or, in this case, any sequence). Also, the pacing in this movie felt really off to me. There was never a chance to breathe. I would also like to know who gave these chuckle heads any permission to kill off some major characters. How could Stan Lee allow this? If the script was good, I might have allowed it. But, this is X-Men we're talking about here. Be careful who you get rid of, or the die-hard fans (like myself) will have a cow.

And can someone please tell me why Halle Berry's performance as Storm seems to change with each passing film? In the first one, she was close to how I imagined the character. By now, she is just playing Halle Berry with white hair. Which brings me to another problem with this movie: How have a LONG list of talented actors... LET THEM ACT!!! Hugh Jackman has always been the force holding these films together, and he does his best here. The only two other thespians in this one who gave me glimpses of what could have been were Famke Janssen and McKellen, who is excellent as usual. Ellen Page as Kitty Pryde was a welcome presence.

Overall, I'm very disappointed. This movie should not have been rushed in order to avoid competing with "Superman". Just look at the results. Now, I'm not going to name names (*ahem*Halle Berry), but... I know that several of the actors don't want to do another one. I'm only praying that the studio gives them enough money. There HAS to be another one, if only to wash away the memory of this...

November (I) (2004)

One of the year's best films.

[10/10 · 28 December 2005]

I was very hesitant to rent "November". I had heard many mixed things about, and was afraid that the film would amount to nothing. I was pleasantly surprised to find an intelligent, creepy, and ultimately profound piece that plays to the strengths of the medium. Like the equally underrated "High Tension", "November" is a great example of how a film can manipulate us in the most shocking ways, yet still give us fascinating ideas to think about.

Courtney Cox is excellent in a change of pace from 'Friends'. She is solid, sympathetic, and a wonderful protagonist. Once these strange things begin to happen to her character, you root for her to get to the bottom of it all. Her chemistry with James LeGros is perfect, making the story all the more effective and tragic. A wonderful film all around. If you are a fan of David Lynch and/or abstract storytelling, give this one a try. It's worth your time.

High Tension (2003)

One of the year's best!

[10/10 · 5 November 2005]

"High Tension", an exercise in unadulterated intensity, works on two levels. First, you have a deliciously gory and uncompromising B-movie, with car chases, decapitations, and a grimy killer with an ax. On the flip side, there is a layered and disturbing psychological thriller.

Many viewers are outraged with the obligatory twist, but that is maybe because they're not looking hard enough. The nature of the film (from beginning to end) is buried so deep within the human psyche, that it's nearly impossible to argue against it. If you're still confused by the ending, think about this: Who's telling the story, and what condition is that person in? Once you answer that question, the film's "inconsistencies" begin to explain themselves.

Beautiful cinematography, focused direction, tight editing, and strong acting (particularly by leading lady, Cecile de France) make for a complex and terrifying horror movie that will satisfy horror fans for years to come.

House of Wax (2005)

Home Sweet Home

[10/10 · 9 May 2005]

I do not think I am alone when I say that 2005 has not been particularly kind to the horror genre. While "Cursed", "Hide and Seek", "The Ring Two", and "The Amityville Horror" all showed glimpses of interest and potential, there have been more misses than hits. For proof, see: "White Noise", "Boogeyman", "The Jacket", "Mindhunters", and "Alone in the Dark". Imagine my surprise when "House of Wax", tightly written by siblings Chad and Carey Hayes, turned out to be... well, a surprise.

Carly Jones (Elisha Cuthbert) is a young woman, traveling with her trouble-making brother, Nick (Chad Michael Murray), and boyfriend, Wade (Jared Padalecki). They are, along with Paige (Paris Hilton), Blake (Robert Ri'chard), and Dalton (Jon Abrahams), hoping to score tickets to the final football game of the season. Along the way, they run into some car trouble, and are forced to enter a desolate town where nothing is what it appears to be.

Upon hearing of this, a remake of the classic Vincent Price B-movie, I rolled my eyes. I did not even want to think about what disaster freshman director Jaume Serra had cooked up for his audience. In a time when most high-profile horror films are disappointments, latent with bad writing, static direction, and amateur acting, I consider myself lucky that Serra and the Hayes brothers took it upon themselves to make a good, old-fashioned, spook fest. Unlike the disappointments that I named before, this flick pulls no punches, and uses every cinematic trick in the book to give everyone exactly what they came for.

I am happy that the Hayes' actually took the time and effort to create likable and believable characters, thus making the events that much more urgent. It also gives the young actors portraying them something grip on. As she did in "The Girl Next Door", Elisha Cuthbert proves to audiences what a skilled actress she really is. In the 2003 remake of "The Texas Chainsaw Massacre", Jessica Biel silenced naysayers by delivering a raw and emotional performance, one that put the viewer right there with her. Here, Cuthbert does the same. Chad Michael Murray ("A Cinderella Story"), in one of his first more mature roles, is no slacker as Nick. Murray exudes charisma and a hard edge, as well as some impressive athleticism on top of it. Murray and Cuthbert gel perfectly, and have tangible, familial chemistry.

More so than anything else, the press and the American public have made a field day about Paris Hilton's major acting debut. As I expected, Hilton does not embarrass herself. In fact, she is just as good as anyone else in the movie (do with that what you will). Like Cuthbert and Murray, Hilton has screen presence. She is sexy and playful. I cannot think one of reason why she's gotten the worst of the film's harsh reception, other than they are simply picking on her. Jared Padalecki (TV's 'Gilmore Girls') memorably manages to overcome his underwritten role. Robert Ri'chard (TV's 'Cousin Skeeter') and Jon Abrahams ("Meet the Parents") do not have much to work with, but get the job done. With only one scene, Damon Herriman ("Soar") makes an unforgettable impression, and his presence hangs over the rest of the film. Finally, Brian Van Holt ("Basic") is superb and threatening in a dual role.

Once more, kudos must go to the screenwriters for avoiding clichés whenever possible. Despite popular opinion, "House of Wax" is quite unpredictable for a majority of its running time. Take this for example: It seems as if the killer is down for the count and Carly bends down to retrieve something from his pockets. What do you expect to happen? See the movie, and you will understand what I mean. It is also refreshing to see a horror film in which the characters show even a modicum of good sense.

Unlike most horror scores, John Ottman's exhilarating work never distracts. However, as with Dark Castle's other releases, the visual aspects of "Wax" are award-worthy, and lift the film above its genre trappings. The talents of cinematographer Stephen F. Windon, production designer Graham Walker, art director Nicholas McCallum, and editor Joel Negron highlight the ghoulish imagery. Speaking of imagery, I believe that the gore hounds will be thrilled with the many makeup effects and tricks in store here. Each death scene is more stomach churning than the last. Considering his past in music videos and commercials, it is obvious that Jaume Serra has a great eye for style. His "in-your-face" approach is a great asset to this film's success. Just when you think the camera will turn away, it does not. He is also particularly good a building thick layers of dread and atmosphere. One standout shot is our introduction to the killer, as he slowly emerges from a trap door.

In a case like this, I would usually admit when I am in the minority (Shut up, okay? I liked "House of 1000 Corpses"!). In this case, I firmly that the detractors have gotten it wrong. I am not sure why people are so hard on this film, considering it's much better than recent genre entries. Maybe they're afraid to admit that a horror flick starring Paris Hilton could possibly be worth watching... Who knows? This is a horror film, and a commendably stylish and effective one at that. As a lifelong horror fan, all I can say is that I thoroughly enjoyed "House of Wax", in all of its lurid and sadistic glory. I safely consider it a great accomplishment in modern horror, as well as (along with "Sin City") the first completely satisfying release of 2005.

A Series of Unfortunate Events (2004)

A fine family film.

[8/10 · 1 January 2005]

I just love the holidays, don't you? It's the perfect opportunity to spend time with your family, curl up with a good book, get eaten by leeches, and sip on a cup of hot cocoa. It's the time when all of the Oscar hopefuls are released, a joyous occasion for a movie fan. It's also the part of the year when the Christmas movies come out. Usually, this is a good thing. Such classics as "Miracle on 34th Street" and "It's a Wonderful Life" come to mind. This year, however, we were treated to "Christmas with the Kranks" and "Surviving Christmas". What do you mean these were bad movies?! Oh, yeah… They were. Well, don't fret. After his touching 2002 drama, "Moonlight Mile", Brad Siberling works his magic once again in "Lemony Snicket's A Series of Unfortunate Events", based on the collection of children's books by none other than Lemony Snicket.

After their parents die in a fire, the wealthy Baudelaire children, Violet (Emily Browning), Klaus (Liam Aiken), and Sunny (Kara & Shelby Hoffman), are sent to live with their distant relative, Count Olaf (Jim Carrey). Olaf is a flamboyant stage actor, and heads a troupe of oddball performers (Jennifer Coolidge, Jane Adams, Luis Guzman, Craig Ferguson, and Jamie Harris). What the children don't know is that their uncle Olaf is trying to off them, and steal the family fortune. What Olaf doesn't know, though, is that the Baudelaire children are junior geniuses. If they are ever going to get out of this alive, the children have to work together… or else.

When it comes down to it, whether or not you enjoy "Lemony Snicket" depends on your opinion of Jim Carrey ("The Truman Show"). In this film, he gives a comedic tour de force performance as the 'beloved' Count Olaf. Carrey surprised me, by proving that he can be quite scary. As the paranoid Aunt Josephine, Meryl Streep ("Adaptation") adds another interesting character to her resume. She is funny without even trying to be, and bizarre beyond belief. With her performance in this film, Streep further proves my hunch that she can do anything. Billy Connolly ("Mrs. Brown") is lovable as the herpetologist, Montgomery Montgomery. With very limited screen time, Connolly creates a character that the audience wants to see more of. Jude Law is amusing as the cautionary Lemony Snicket.

I'd like to give kudos to Siberling for assembling a trio (er… quartet) of impressive child actors. Emily Browning ("Ghost Ship") is excellent as Violet, the inventor of the family. Browning carries the finale on her shoulders, and does it like a pro. Browning, an Australian, is a radiant beauty with a lot of talent. I have a feeling that she will be a star in the future. Don't forget, you heard it here first. Liam Aiken ("Stepmom") is a bit weaker as Klaus, as he tries way too hard to convey his emotions. His earnest line deliveries are admirable, if not always successful. There is some potential here, though. I never would have guessed it from "Stepmom", but he is growing up to be a very handsome young man. The Hoffman sisters are adorable, and make hilarious noises at the appropriate times.

If there is one fault in the film, it would be that there is a very minimal sense of danger. (Spoiler!) I knew that these kids would come out on top, and use their skills to defeat whatever problems got in their way. This left me at somewhat of a distance whenever they were in peril. When all was said and done, the film's good heart won me over. The final scene should come off as cliché, but it was sincere enough to win me over. Nevertheless, the film is very enjoyable, fast-paced, and well worth the $10. Some sequences are also truly twisted, involving snakes, trains, and the aforementioned leeches, and may or may not be too scary for children. I doubt it, though.

The film comes off as very Tim Burton-ish, but I don't think that's a bad thing. It simply means that Siberling is trying to helm different types of projects, which is okay by me. The score, Carrey's kooky makeup design, and the art direction all combine to create an imaginative world that could have easily stepped out of a children's book. With it's threatening atmosphere and off-beat sense of humor, I guess you can safely call "Lemony Snicket" an anti-holiday film.

Far from Heaven (2002)

Everything is right in Todd Haynes's homage to 50's melodramas.

[10/10 · 1 January 2005]

Going into this film, I was not sure what to expect. I had heard that it was filmed in the style of a 1950s film, but I had no idea what would be done with the concept, and was afraid. Very afraid. It didn't help that the title splashes onto the screen in bold, pink cursive. I was nervous, and wasn't prepared for what was to follow. Two hours later, I had discovered the best film of 2002.

Cathy Whitaker is a happy housewife, living in the 1950s. Her husband is a successful business man, working for a prosperous company. She has two kids, and couldn't be happier. One night, she uncovers a secret that threatens her family. And in a time of racism, she soon finds herself in the arms of her black gardener.

The always-wonderful Julianne Moore ("Safe") delivers the best performance of her career as Cathy Whitaker. She brings earthiness and credible emotion to a role that, had Haynes cast the wrong actress, could have been overacted or cold. While the center of the story is a female, the male characters surrounding are just as strong. Dennis Quaid ("The Rookie") also delivers his best performance to date, giving the audience heartbreaking look at a man torn apart. Frank is a good husband and father who, over the course of the film, has to choose between the life he is leading, and the life he wants to lead, knowing full well that it would destroy the people he loves. Dennis Haysbert (TV's '24') is, for lack of a better term, beautiful as Raymond, the intelligent and sensitive black man who Cathy befriends. Eleanor Fine, Cathy's best friend, is more of a full-bodied character than stereotype, thanks to Patricia Clarkson's ("Pieces of April") layered and charming portrayal. Viola Davis ("Antwone Fisher") is solid as the Whitaker's loyal maid, Cybill.

When it comes to making films, Todd Haynes is a natural. His screenplay isn't so much dialogue, as it is pure poetry. In one scene, Raymond takes Cathy out to a lake, where she proceeds to tell him her philosophy on family and love: "That was the day I stopped believing in the wild ardor of things. Perhaps in love, as well. That kind of love. The love in books and films. The love that tells us to abandon our lives and plans, all for one brief touch of Venus".

What Haynes also accomplishes is a film that, while paying homage to a past genre, also brings modern topics, like homosexuality and racism, to the table. In the 1950s, these subjects were considered taboo and scandalous, and were muted in the medium of film. It is also startling to see old-fashioned sensibility on the aforementioned issues. When Cathy finds out that (spoiler) her husband is a homosexual, both her and Frank believe that a doctor and therapy can help "cure" him. Also, when Cathy and Raymond are seen walking about town, the whole town seems to find out within a couple of hours.

There are many elements that embellish the work of Haynes and his cast. For example, Sandy Powell's elegant costumes, Mark Friedberg's colorful production design, and Edward Lachmann's graceful cinematography, all of which are evocative of the cinema period. Most important is Elmer Bernstein's musical score. While composing in the style of the classic films, Bernstein comes up with something haunting and memorable.

Rarely before have I seen a film so rich in its ideas and so successful in its accomplishments. While this project might have been disastrous in the hands of lesser talent, HEAVEN earns the tears of the audience with real sincerity and heart.

Mean Girls (2004)

Tina Fey deserves some major snaps.

[10/10 · 1 January 2005]

High school is a scary place. Trust me, I know. I've been there. Getting through high school is like taking part in a collection of unpredictable games that test your stamina, self-esteem, and your patience. Okay, so maybe high school wasn't that bad. Based on the non-fiction book "Queen Bees and Wannabes" by Rosalind Wiseman, Tina Fey's terrific dark comedy, "Mean Girls", takes an honest, sassy, and hilarious look at the sneaky, backpack-wearing monsters who lurk the halls. Take cover.

Cady Herron (Lindsay Lohan) has been home-schooled her whole life. Since her parents are zoologists, she was raised in Africa. In her home country, she noticed how the animals communicated, ate, and fought with each other. When her parents move back to the States, she feels that she is ready to take on the world of teenagers. If only she knew... Cady quickly becomes friends with goth chick, Janice Ian (Lizzy Caplan) and the flamboyantly gay, Damian (Daniel Franzese). Within a day or two, she finds herself in the clutches of The Plastics, a trio of beautiful and wealthy girls, led by the delicious Regina George (Rachel McAdams), the nosy Gretchen Wieners (Lacey Chabert), and the ditsy Karen Smith (Amanda Seyfried). The Plastics are the most popular clique in school, even though everyone is afraid of them. As if she didn't have enough to do, Cady makes the mistake of falling for Regina's ex-boyfriend, Aaron Samuels (Jonathan Bennett). Cady doesn't see the harm in this, but Regina is not going to stand for it. This means war, and the school is their battlefield.

Directed with visual and comedic flair by Mark S. Waters ("The House of Yes"), Tina Fey's screenplay keeps the jokes coming fast and furious. The film is filled with biting satire, broken hearts, and sneaky sabotage folly. In one scene, Janice cuts up Regina's shirt, not realizing that she has inadvertently created a trend.

Satire is a tricky genre, because the writer has to poke fun at different situations, while not exaggerating it to the point of parody. Fey succeeds with flying colors, as I'm sure a lot of people will relate to the wacky situations on screen. Her script is daffy, to be sure, but she keeps things authentic, and never lets the story digress into sap. For example... Throughout the film, Cady compares the interaction of students to that of wild apes. Also, in her attempt to get closer to Aaron, she purposely fails her math tests (even though she is really a whiz at math). Even the obligatory prom scene at the finale resembles an actual prom, as opposed to a flashy spectacle where all of the students perform a previously choreographed dance. Details like that succeed draw the audience further into the dangerous world that Fey is trying to create.

After holding her own against Natasha Richardson & Dennis Quaid in "The Parent Trap", and Jamie Lee Curtis in "Freaky Friday", Lindsay Lohan delivers her best performance as Cady Herron. The transformation that Cady takes, from meek girl to devilish vixen, is quite remarkable. When she first arrives at school, Cady has no desire to be popular. All that she wants is to get through her day, unscathed. However, when she becomes the talk of the school, it does not occur to her that horrible things are headed her way. Lohan makes this startling transition real and organic. Rachel McAdams ("The Notebook") is a standout as Regina George, a blonde "biatch" who is so good at hiding her true colors. You never know when she'll whip out her claws.

Lacey Chabert ("Not Another Teen Movie") and Amanda Seyfried (TV's 'All My Children') are adorable as Gretchen and Karen, respectively. Unlike Regina, neither Karen nor Gretchen are mean. They hang out with her simply because it makes them feel like they're part of a special group. Lizzy Caplan (TV's 'The Pitts') and Daniel Franzese ("Bully") steal their scenes as Janice and Damien, while never turning them into stereotype. Jon Bennett ("Season of Youth") avoids playing Aaron as a cliché boyfriend character. Instead, he makes Aaron a really likable guy who, as fate would have it, is caught between Cady and Regina. The adult cast, made up of first-class comedians, is just as strong. Amy Poehler, Tim Meadows, Ana Gasteyer, Neil Flynn, and especially Tina Fey, give it their all, and add their unique quirks to the proceedings.

"Mean Girls" is a simply divine treat for anyone who has ever gone to high school, meaning that almost everyone will enjoy it. It easily joins "Clueless", "10 Things I Hate About You", "American Pie", "Saved!", "The Girl Next Door", "Ferris Bueller's Day Off", and the Brat Pack flicks as one of the best teen movies. The bitchy dialogue, vicious direction, and developed characters elevate it into a class above the rest. It's one of the finest films of the year. The bottom line: It's so fetch.

The Talented Mr. Ripley (1999)

A powerful and disturbing thriller.

[10/10 · 1 January 2005]

How far would you go to be someone else? If there was someone better looking, wealthier, cooler... what would you give to be them for one day? Actually, forget one day. What would you give to have their life? In Anthony Minghella's "The Talented Mr. Ripley", based on Patricia Highsmith's classic suspense novel, our protagonist is presented with this tantalizing opportunity, and makes the wrong choice.

Tom Ripley (Matt Damon) is a step up from being nobody. He is a piano tuner at Princeton, and lives a shabby lifestyle. He is a mystery man, everyone sees him, yet nobody knows who he is. When wealthy businessman Herbert Greenleaf (James Rebhorn) mistakes Tom for somebody else, Tom is handed a ticket to Italy, and given a small task: To persuade Herbert's son, Dickie (Jude Law) to come back to America. When Tom meets Dickie and Marge Sherwood (Gwyneth Paltrow), his beautiful fiancée, he believes that he has entered a whole new world, filled with jazz, culture, money, and everything else that Tom never had. As time goes on, that dream that Tom has longed for is threatened by Dickie's arrogant personality and hurtful affairs. As an act of self-defense (and rage), Tom brutally kills Dickie. Now, Tom is desperate to make sure that this way of living stays with him, while not getting caught.

Anthony Minghella ("The English Patient") is a filmmaker of rare quality. The films he makes are not only visually arresting, but also emotionally stimulating. His use of color and cinematography is moody, unsettling, and impeccable. Unlike many other filmmaker, his choices always work. In one haunting shot, Ripley closes the cover of a piano. As he steps away from it, his reflection splits into two, illuminating his split personality. His screenplay of Highsmith's novel is terrific. It is filled with horror, light humor, exhilarating drama, and beautifully crafted exchanges. His taut script never loses sight of morbid places it has to go, and the point it has to make. He also throws in some fascinating, sexual undertones between Dickie and Tom.

In his best performance ever, Matt Damon ("Good Will Hunting") is absolutely mesmerizing in the title role. At first, the audience sympathizes with Ripley, given his meek personality and underwhelming existence. As the film goes on, we follow Ripley through his journey, as he evades his friends, and the police. Damon's Ripley is shy, clinging, lonely, and pathetic. A sad character. Through all of the bad things that he does, and all of the lies he tells, we still have no choice but to follow him. And that is because we understand, if not agree, with his motivations.

As Minghella himself once said, the most spoken word in the screenplay is "Dickie". It seems that, throughout the film's two and a half hour running time, all of the characters are fascinated with Dickie. It's the name on everyone's lips. Jude Law ("AI: Artificial Intelligence") exudes self-importance, class, and undeniable sexuality. Dickie is an abusive rascal and playboy, but we can't look away from him. Gwyneth Paltrow ("Shakespeare in Love") is brilliant as Marge, Dickie's long-suffering fiancée. Marge, like Tom, goes through a long and damaging journey. When she realizes that Dickie is missing, Marge is not sure exactly what to think. She likes Tom, so she doesn't really suspect him. Throughout the film, her thoughts shift back and forth, until she comes to a startling conclusion. In one heartbreaking moment, Marge approaches the door of Tom's apartment. She thinks that Dickie is in there, and she says: "Whatever it is you've done, you've broken my heart. That's one thing I know you're guilty of." It is a wonderful performance, one that was ignored by virtually every awards group.

Cate Blanchett ("Elizabeth") lights up her brief screen time as Meredith Logue, a spirited debutant. While Meredith does love Tom (actually, she is under the impression that Tom is Dickie), it never occurs to her that she is only a cog in Tom's little game. Finally, Philip Seymour Hoffman ("Magnolia") is appropriately slimy as Freddie Miles, Dickie's best friend. Freddie might be a bit of a bastard, but he is one of the more honest characters in the film. Freddie knows that something has happened to his friend, and he's not going to stop until he finds out what.

In a scene with Peter Smith-Kinglsey (Jack Davenport), a concert pianist and friend of Marge, Tom says: "I've always thought it would be better to be a fake somebody, than a real nobody". This is what the film is all about, and this is what the audience must decide on. The eerie and atmospheric score is provided by Gabriel Yared, the arresting cinematography by John Seale (practically a dreamy showcase for Italy), and the smooth editing by Walter Murch. These elements, combined with a stellar cast and Minghella's talent, form a masterpiece. This is a powerful and disturbing thriller, one that I will not soon forget.

The Phantom of the Opera (2004)

Absolutely mesmerizing.

[10/10 · 1 January 2005]

When I was eight years old, my family and I took a train into New York City, and saw an evening performance of a Broadway musical. It was my first time seeing a show, and you could not have found a boy who was as excited as I was. Since then, that particular show has gone on to be one of my favorites of all time. As I got a little bit older, and more interested in the art of cinema, I said to myself: "What a movie it would make." Almost ten years later, the film version of Andrew Lloyd Webber's "The Phantom of the Opera" hits theaters. And it did, indeed, make quite a movie.

The setting is Paris, France. The time is the late 1800s. Christine Daae (Emmy Rossum) is a gifted, young singer who is given the lead role in a opera when the current lead, La Carlotta (Minnie Driver) walks out of rehearsal, due to alleged "technical difficulties". Daae is a revelation, and is soon stalked by a strange figure, known only as the Opera Ghost. Is this the angel that her late father promised he would send to her? Or is it a madman, bent on using Christine's talent to his advantage? Gerard Butler ("Dracula 2000") is fantastic in the title role. Going in, I was anxious to see how a non-singer would fare in handling one of the more difficult male parts of musical theatre. I was very pleasantly surprised. What he lacks in vocal experience, he more than makes up in passion. Butler's Phantom is alternatively heartbreaking and threatening, as well as deeply sexual and mesmerizing. He is a tortured character that one feels sympathy for by the end. Emmy Rossum ("The Day After Tomorrow") is a stunning newcomer, with a lot to offer. With her performance as Christine Daae, Rossum combines her angelic voice with her soft features and impressive acting skills. Neither Butler nor Rossum are as accomplished as Michael Crawford or Sarah Brightman, their stage predecessors. However, they display far more passion than I have ever heard from either British stage star.

Christine's lover, Raoul, has the potential to come off as flat, but Patrick Wilson (TV's "Angels in America") does what he can with a sketchily written part. Nevertheless, Wilson continues to impress me. He is a smooth tenor, and his performance in HBO's 'Angels in America' deserved an Emmy (you know what I mean). Miranda Richardson is solid as Madame Giry, the woman who may know a thing or two about the mysterious opera ghost. Ciaran Hinds ("Calendar Girls") and Simon Callow ("No Man's Land") are hilarious as the clueless buffoons who run the theatre. Finally, Minnie Driver ("Good Will Hunting") all but steals the show as Carlotta Guidileci, the opera diva who is constantly vying for attention.

Andrew Lloyd Webber has written many quality musicals before, namely "Joseph and the Amazing Technicolor Dreamcoat", "Evita", "Jesus Christ Superstar", "and "Cats". Webber's work on "Phantom" is his best. Standouts numbers include "Think of Me", "All I Ask of You", "Wishing You Were Somehow Here Again", "Music of the Night", and the exhilarating title song. The production design, courtesy of Anthony Pratt, is among the finest I have ever seen. Every detail, from the candelabras in the Phantom's lair, to the gargoyle that sits atop the opera house, to the misty cemetery, breathes imagination. Credit must also be given to cinematographer John Mathieson, whose colors are practically tangible. On stage, the musical tends to drag a bit in certain spots, but Terry Rawlings's fluid editing keeps the pace surprisingly fast, even during the ballads.

Despite his constant critical bashing, I have usually enjoyed Joel Schumacher's work. His work in "Tigerland" "8MM", "Veronica Guerin", and "The Lost Boys" suggested a filmmaker with a sharp visual style and a sensitive touch with actors. Speaking of which, though I am in the minority, I must say that "Batman Forever" is my favorite of the Batman films. Just don't even get me started on "Batman & Robin". Certain sequences are borderline brilliant, and some images are unforgettable. Consider the scenes in which the Phantom first lures Christine through the mirror and into his subterranean home, the masquerade ball, and Christine's visit to her father's grave. The first ten minutes are astounding. It is set after the events in the film, and is shot in the style of the silent era. Suddenly, the opera house magically goes back in time, to reveal its original glory. I don't know who came up with that idea, but it has the power to raise goosebumps.

At the end of the day, "The Phantom of the Opera" is a lavish, old-fashioned musical. The emotions felt are not necessarily subtle, but they register perfectly. The climax and epilogue were especially moving. The final confrontation between The Phantom, Christine, and Raoul packs as much potency as most independent dramas. The stage show was spectacular and all, but I never felt much for the characters, even on the original London cast recording. This was no fault of Webber's, as his show is as good as anyone could have possibly asked. Maybe it was the actors that I saw at that particular performance. Doesn't matter. Schumacher's vision of this popular piece is definitely sufficient enough to solidify its place in musical theatre history. I know this is extremely corny (and I'll probably end up taking it out, anyway), but this film is phantastic. Who knew that a music box and a rose can induce tears from a person who has seen the show, and listened to the CD for ten years? Certainly not I

Sky Captain and the World of Tomorrow (2004)

A living and breathing comic book.

[10/10 · 6 October 2004]

I honestly can't remember having this much fun while watching a movie. "Sky Captain and the World of Tomorrow" is exciting, fun, and always intriguing. Kenny Conran's feature film debut is nothing short of brilliant. Melding together the most exciting elements of a 1940s film noir, an Indiana Jones adventure and a comic book, Conran comes up with a something unique and entertaining. Conran gets extra points for giving the film a sense of humor, narrative flash, and (most importantly) a good heart.

After several of the world's most renowned scientists start disappearing, it is up to daring pilot, Joe 'Sky Captain' Sullivan (Jude Law), and tenacious reporter, Polly Perkins (Gwyneth Paltrow) to solve the mystery. Joe and Polly have had a torrid affair in the past, but if their going to save the world, they must learn to put aside their differences and work together. Along the way, they enlist the help of a tough, British commander (Angelina Jolie) and a genius mechanic (Giovanni Ribisi).

Jude Law and Gwyneth Paltrow (both of whom starred opposite each other in 1999's mesmerizing thriller, "The Talented Mr. Ripley") once again have terrific chemistry as Joe and Polly, respectively. Law, who was recently named People Magazine's Most Beautiful Person, is dashing in the title role. Unlike Ben Affleck's flat Daredevil, Law breathes life and charisma into a role that may or may not seem archetypical on the page. Paltrow, who previously gave vastly underrated turns in "...Ripley", "Shallow Hal", "The Royal Tenenbaums", and "Sylvia", is especially good. The latter film should have merited Paltrow an Oscar nomination, but I digress. She is adorable, and seems to have stepped out of the period in which the film takes place. Angelina Jolie all but steals the show as Frankie Cook, the tough British commander. Her role is little more than an extended cameo, but Jolie seems to have a great time while it lasts. Bai Ling is appropriately threatening and mysterious as the... Mysterious Woman. Finally, Giovanni Ribisi is very likable as Dex, Joe's genius sidekick.

At the beginning of the year, I heard vague remarks about a film being made entirely on a computer. I was skeptical at first, as there was some previous concern in Hollywood about CGI figures permanently replacing live actors. How could it possibly turn out? This type of film can go either way: It can either be a masterpiece, or it can be a horrendous piece of celluloid. It is the former because of the way that Conran and the cast carefully walk the line between fantasy and reality. Furthermore, many of the charming exchanges between Joe and Polly ring true, and further develop their characters. In one humorous scene, Polly begins to cry after she realizes that she has accidentally taken a picture of her feet. What does Joe do? He laughs at her. That is what I paid for; I paid to be entertained. Using characters that we like, and situations that interest us, we are pulled into the world of robots, nifty gadgets, and evil scientists... and we buy it.

While many film directors work for years on end trying to make magic happen, Conran does it on his first outing, and then some. He keeps things moving at a brisk pace, never stopping for even so much as a glass of water. It all leads up to an exciting climax (and a disturbing cameo from the late Sir Laurence Olivier) in which one actually feels the magnitude of what is at stake. He caps the film off with a hilarious, perfectly time ending. The last 30 seconds of the film are irresistible, and I don't believe I could possibly think of anything better.

Unfortunately, this is not a film for everyone. Those with narrow tastes may find the whiz-bang shenanigans of Joe and Polly tiresome. Just look at the title. If it sounds appealing to you, you'll probably love it. If not... Well, you know the rest. The film looks, and sounds, amazing. It leaves the audience with an adrenaline rush, and a silly smile on their face. At the risk of sounding unpopular, "Sky Captain and the World of Tomorrow" is the most entertaining film I have seen all year. In fact, I'd compare it to "Raiders of the Lost Ark". Unfortunately, Conran's vision will probably go unnoticed by the critics and the Academy, come late winter.

Cold Mountain (2003)

A sweeping, ravishing film.

[6/10 · 20 February 2004]

I don't understand the criticism that COLD MOUNTAIN is getting. It is a heartfelt, lavish epic with an unabashedly romantic and beautiful heart. And, just as in small-scale and independent dramas, the characters are always the most important thing.

Jude Law is excellent as Inman, a wounded soldier who drops everything to journey back to the woman he fell in love with. Despite what others say, Nicole Kidman is absolutely wonderful as Ada Monroe. Her transformation from delicate Southern belle to strong survivor is notably strong.

Renee Zellweger steals the film with her plucky and sassy Ruby Thewes. Zellweger avoids cliche by showing commitment and giving her character real emotion... thus making the audience fall in love with her.

Natalie Portman is also great as a young, suffering mother named Sara. Portman is so good in this, that I actually forgave her for those garbage STAR WARS flicks.

Anthony Minghella (whose TALENTED MR. RIPLEY was one of the best films of 1999) once again gives his keen eye, tight writing skills, and literary sensibility to a near-flawless masterpiece, and I think it is disturbing that his work was blatantly ignored by the Academy.

Don't fight it, don't look for things to nitpick about. Just watch it. This is truly one of the best films of the year.

Gerry (2002)

Visually striking, and Affleck is amazing.

[19 February 2004]

What Gus Van Sant has done with GERRY is unheard of: He has taken a film with no story, little structure, and only two actors, and... made it work.

Casey Affleck in unexpectedly strong in this experimental, man vs. nature drama. His natural performance and the hypnotic desert cinematography are the high points of this mesmerizing piece of work, and are well worth the recommendation on their own.

All the Real Girls (2003)

Tender and haunting.

[19 February 2004]

ALL THE REAL GIRLS, the 2003 romantic drama by David Gordon Green, is one of those rare films that gets love just right. It is a tender, compelling, and haunting love story with disturbingly strong performances.

Paul Schneider heads the cast as Paul, a local kid with a bad reputation for toying around with several women. He soon finds himself falling truly in his best friend's (Shea Whigam) beloved sister, Noel (Zooey Deschanel). Noel has never been in a serious relationship, and neither has Paul. But... will their individual flaws ruin their only chance at love?

Schneider is very good as the torn Paul. You can see his transformation into a young man trying to get his life on track. Zooey Deschanel is stunning in every way, and it is so easy to see why Paul is willing to change himself for her. I sense a star in the making...

Shea Whigam is remarkable as Tip, Paul's "partner in crime". Observe his facial expressions when he announces to Paul that his girlfriend is expecting a child. An amazing performance. Last but not least, Patricia Clarkson turns in yet another fine supporting turn as Paul's long-suffering mother. Elvira is a women who is trying so hard to hold on to what she has, while at the same time... striving for something more.

REAL GIRLS is a film about the awkward and heartbreaking nature of raw and naive love. It is gentle, bittersweet, unflinching... and so damn powerful.

The Lord of the Rings: The Two Towers (2002)

Very, very good.

[16 February 2004]

Although it is nowhere near as enchanting and breathtaking as FELLOWSHIP, THE TWO TOWERS is an exciting sequel that (more or less) lives up to the hype. It is a very good movie.

Once again, Peter Jackson has done a great job of direction. despite a partly animated performance, Andy Serkis deserved an Oscar nomination for his performance as Gollum/Smeagol. Liv Tyler also deserves special recognition for her touching portrayal of Arwen. Her scene with Elrond is a testament to how good of an actress she really is.

The Lord of the Rings: The Fellowship of the Ring (2001)

A miracle.

[16 February 2004]

The first chapter in the LotR trilogy is unlike anything I have ever seen before! It captures just about every emotion that you could want in a film: wonder, love, humor, terror, adventure, drama, etc.! This is truly one of the most awe-inspiring movies ever made! The cinematography is sweeping, the storyline is beautifully constructed, and the acting is flawless! There is no weak link in this cast! Ian McKellen gives one of the year's best performances. He IS Gandalf! The rest of the (enormous) cast deserve recognition as well.

Much credit to Peter Jackson, J.R.R. Tolkien, and the rest of the production company for making this miracle of a movie possible!