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tolerford
Reviews
My Life (1993)
Seen Three Times, Over the Years
Deliberately watch it for Keaton's mastery. Having been months since last seeing it, still, the day Queen Latifah knocks on the door, when he shows how hard it is to walk, is the second stark reminder of how good he is. The first is as he dies. The only performance of dying that has that world-class quality is Christopher Reeve in "Somewhere in Time".
Keaton's character choosing to leave his child various videos as they occur to him, especially the one about shaving, is what wells the tears for me. You can touch the feeling Keaton is capable of evoking.
Like some of the other comments, I agree I was astounded that he didn't win the Oscar that year, much less not even nominated. Yes, Tom Hanks was incredible in "Philadelphia". It's apples and oranges.
I disagree that the Chinese attitude toward his anger was hokey. Anger does become illness.
Running with Scissors (2006)
Good to Take a Nap With
Rented Running with Scissors last night; watched as it worsened, and all I gotta say is WHAT WERE THEY THINKING? Finished without the ending. Beyond "darkly" -- hideously! -- dysfunctional people. I think it was in the directing. When you think back over it, each person's morass is common, psychologically. It's just so poorly done and exaggerated, and the timing -- the pacing -- and the sequencing -------everything is bad but the acting. Annette Bening is incredible throughout, especially once she's drugged, but just as good in her other phases. Alex Baldwin perfectly depicts the robotic alcoholic, and Gwyneth Paltrow is funny, showing how righteous, her Bible thumper. The others are furniture. Don't bother!
21 Grams (2003)
The Title
Came into the middle of this last night, having seen it from about the same point the first time. I was determined to hear the exact quote at the end: "They say we all lose 21 grams at the exact moment of our death," narrates Penn, who goes on to muse, "a stack of five nickels? a hummingbird? a chocolate bar? How much does 21 grams weigh?" The violence, when I turned my head, was worth it first to see Melissa Leo again, her natural power so missed from NYPD Blue, and the signature understated grasp of Sean Penn. The beautiful direction, putting the pieces together the way a book often is, assumes your intelligence, which is refreshing.
But this contention at the end, I find fascinating, logical, and insightful to choose as the title.
I say the movie is worth every minute.
The Door in the Floor (2004)
Masterful
This movie is riveting, all told. A pure character study taken only from the first third of the novel; over the heads of teens. Rented it knowing Jeff Bridges never makes a bad movie, and that Kim Basinger in maturity has developed a subtlety that's moving. It's a tragedy that sticks with you afterward. From it, you're reminded the complexities of adult levels of coping mechanisms, and how nothing -- including financial comfort -- makes anyone immune to the possibility that coping can become twisted, and as ugly as its initiating cause. From the depth of these professionals' handling, John Irving's best-selling status is a small wonder.
Fluke (1995)
Touching
Native Atlantan here; caught the movie surfing. Heartwarming to see Atlanta. Never watch movies starring animals but for MILO AND OTIS. Atlanta is why I continued. Yet reincarnation is an interest of mine, and so is animal testing. As it went along, I found the dialog intelligent and the educational subplots worthy. And Nancy Travis's face was familiar, as was Bill Cobb's and Max Pomeranz. I've always like Eric Stoltz and Matt Modine anyway. This movie is literal, maybe too much so for under 14. Teens interested in animal testing will rejoice in one scene, laugh happily and applaud. And for adults, it's a nicely provocative take on reincarnation; heartwarming, reaffirming and warm.
Good Night, and Good Luck. (2005)
Redundant Bandwagon: Praise
I've not read the other comments herein. Saw one with "flaw" in the summary.... Leaving the production quality and techniques to others. What strikes me is the essential truth of what Murrow did, and how important it was; how he was phased out for the same reason coverage today is; how excellent the timing is for this fabulous analogy; how obvious, Strathairn's devotion to portrayal; the overall bravery and defiance of Murrow/Clooney; the subtlety of clocks and dates, and especially how lowered lights and fades-to-black are timed. It's profound and elegant.
I'm lucky enough to have lived long enough to remember Murrow in my girlhood, and my father's enforced shushing as he routinely watched, absorbing by osmosis, Murrow's integrity. It's heartening that Clooney stands with his generation's relay baton from Redford and Newman. Except for C-Span, there's scant else whispered or seen these years after Murrow, without deep digging through print journalism.
Searching for Debra Winger (2002)
Speaks Truth to Power
Rating this one short of a ten for the inability of some of these actresses to better articulate, or for the sad glimpses of losing the point in other interviews. This movie needed to be done. Hopefully, it rocked the boat to an extent that change will show its eyes. As usual, Whoopi Goldberg cut to the chase alleviating the coldness of the sickening truth better than anybody else. Life enriches us as we age. Where are the scripts. How much more seldom does it have to be, that money for production come from the actresses themselves? We've lost Wendy Wasserstein; where's Nora Ephron? Where are the productions of the women-owned studios? Let's roll!
Passion Fish (1992)
Profound and Understated
For people dealing with a sudden life change, this portrayal is eloquent. Not only is every facet of human adaptability explored, but common hurdles in major adjustments seethe. The casting was perfect, the perspective well-rounded, and the satire in the writing was classic. Both women were so comfortable in their roles that everything they did seemed natural. David Strathairn was equally good. The music was impossible for sitting still, and the overall feeling when it ended was a warmth hard to find.
This is a movie easily warranting recommendation as an exemplar for audiences facing a rough road. The outrage of starting over and sacrificing is beautifully shown by both women. The adjustments they are both making together are formidable, and as they clench down on where they find themselves, your admiration for how they handle the grim circumstances steadily grows.
Curse of the Starving Class (1994)
Script and Acting is Fabulous
You can't improve on the casting of the leads here, nor the dialogue. So earthy, and James Woods in the field during the thunder is incredible. Cinematography holds your admiration and attention. Can't beat Sam Shepherd in the first place; Beresford's name is familiar to me.... True as I read in another viewer's observation that it was slow, but when your focus is the craft, slow is a luxury. Beautifully understated complexities that hit home with few words. I did turn away during the graphic violence; I see men outnumber women in the enjoyment of this movie, and that's likely why. The role of the daughter was the only lackluster performance. For lovers of craft, I'd recommend this movie highly.
84 Charing Cross Road (1987)
Anne Bancroft Throwing the Book
With the death of Anne Bancroft and the most frequent mention "The Graduate", the one about Helen Keller, and the nun movie with Fonda, I find it deeply negligent to omit Charing Cross. She makes you feel, smell and touch the reality of that time period, the hilarity of individuality and the precociousness of defiant survival. There is nothing she ever did that was inferior, but Charing Cross is beyond equivalent to "The Graduate" and the other two, with the scene throwing the book an excellent example of her natural confidence that for me epitomizes her career. The one with MacLaine about ballet was her sleekest.
Under the Tuscan Sun (2003)
Sometimes Silly is Perfect
If you're in one of those moods when something beautifully shot that avails you of fresh perspectives on a foreign culture, with the sway of ease found in few typical adventure movies, this is the all-time popcorn-munching extravagance. This movie is sensuous, and the delightful spontaneity of Diane Lane makes you completely comfortable. Regardless its thinness, there is warmth, fun, immersion, and everyday cuteness. Discovering her lover has moved on, Diane Lane is moving, registering her character's hurt, and dignified, extricating herself from his presence. Celebrating her return to sexual intimacy, she's hilarious and right on the money. Standing as family for the Polish boy, she shows depth and simplicity in the same gesture. She's also a mistress of showing intricacies of emotion.