Reel Reviews: 2005

The Dying Gaul

Stars: Patricia Clarkson, Campbell Scott, Peter Sarsgaard, Ryan Miller, Faith Jefferies, Bill Camp
Director: Craig Lucas
Writers: Craig Lucas
Distributor: Strand Releasing (produced by Holedigger Films and Twopoundbad)
MPAA Rating: R for sexual content and language
Running time: 101 minutes

Script – 8
Performance – 8
Direction – 7
Cinematography – 7
Music/Sound– 7
Editing – 7
Production – 7

Total Score – 7.2 out of 10

The DYING GAUL refers to the statue of a wounded Celtic warrior, as well as the title of the screenplay mentioned in the film. It is also a metaphor for the film: the statue depicts the defeat of the human spirit rather than of flesh.

Jeffrey (Scott) is a hot-shot movie producer looking for fresh material. He’s interested in The Dying Gaul, a screenplay about AIDS written by aspiring writer Robert (Sarsgaard). He offers Robert $1 million for the script, but there’s a catch – Robert must change the protagonists from two gay men to a heterosexual couple. Robert takes the offer with much guilt, as he’s dedicated his screenplay to his late partner, Malcolm (Camp) who died of AIDS. Jeffrey seduces him with money and sex, both irresistible to vulnerable, guilt-ridden and grief-stricken Robert.

As Jeffrey includes Robert to his posh beachside estate and family, his wife, Elaine (Clarkson), becomes fascinated by Robert – not only by his charm and talent, but also by his immense sadness. Knowing that Robert frequents online chat rooms, Elaine plays a dangerous game of deceit by spying on Robert, posing as a gay man. Soon, she gains Robert’s trust and learns of the horrible secret that he and her husband is having an affair. Sex, lies and instant messaging – the story takes on a bizarre twist of actions and consequences.

Clarkson (GOOD NIGHT, GOOD LUCK) is consistent with her body of excellent work. Here, she’s youthful and sexy as Elaine, a bored trophy wife who has a dark side to her. Her performance is complex, vulnerable yet vindictive at the same time. Scott (ROGER DODGER) is very good as the manipulative, bisexual producer. He preys on a young, fetching writer without an ounce of guilt and reservation. At the same time, he shows vulnerability – a protectiveness that is shielded by his conceit. But the show really belongs to Sarsgaard (JARHEAD), who has emerged as the actor to watch. His portrayal of Robert is intricate and nuanced, full of pain, regrets, guilt and a sizable dose of rage and bale.

The script by writer-director Lucas (based on his own play) is about these three characters who might not be what they seem. On the surface, they are very amiable people – nothing strange or disturbing about them. But deep down, they’re damaged and dangerously vulnerable. Robert is a tortured soul, and when push comes to shove, he would do anything to get what he wants. Jeffrey is the opposite of Robert – he is a ruthless businessman who won’t stop at getting what he wants; then again, he seems to truly care for other people, especially Robert. Is he falling in love with Robert, or is it all about sex? We don’t know. We may never know. But you can’t say Jeffrey is faking it. Clarkson has the most interesting role playing the conflicted Elaine. Driven by her awe and curiosity and compassion, Elaine digs a deeper and deeper hole for herself and everyone around her. Her deceit is every bit as dangerous and destructive as her husband’s; the thing is, she doesn’t quite know it. That’s what makes the story so interesting.

Lucas’s direction is crisp and direct, with some interesting camera work. He’s done well in matching the intriguing material with a unique visual style. At times, the film looks haunting and exhausting at the same time. Lucas also has the good sense of instilling humor and eroticism in the otherwise heavy story of deceit and betrayal. Granted, there’s really nothing incredibly epic about this story – no larger-than-life heroes or over-the-top villains. The ending also leaves one contemplating the real meaning. I’m not sure if I completely get it either. We might not really identify with the characters, but that’s not really the point. The film doesn’t ask us to empathize with them. THE DYING GAUL is simply a cautionary tale of human frailty.

Memoirs of a Geisha

Stars: Ziyi Zhang, Michelle Yeoh, Li Gong, Ken Watanabe, Tsai Chin, Cary-Hiroyuki Tagawa, Mako, Youki Kudoh, Koji Yakusho
Director: Rob Marshall
Writers: Robin Swicord, Doug Wright (based on novel by Arthur Golden)
Distributor: Sony Pictures
MPAA Rating: PG-13 for mature subject matter, sexual content
Running time: 145 minutes

Script – 6
Performance – 7
Direction – 6
Cinematography – 8
Music/Sound– 7
Editing – 7
Production – 8

Total Score – 6.8 out of 10

I had such high hopes for MEMOIRS OF A GEISHA because, first of all, I’m Asian, and second, I love Arthur Golden’s lyrical novel. I’m also a fan of Rob Marshall since I worked with him ten years ago. What transpires to the big screen, though, is unfortunately short of spectacular.

When their mother falls ill, sisters Chiyo (Suzuka Ohgo) and Tanaka (Togo Igawa) are sold to the a geisha house and a brothel respectively by their downtrodden fisherman father (Mako). Because of Chiyo’s beauty and rare “eyes of water,” she is favored to be sent to geisha school. We’re reminded that geishas are not prostitutes; they’re skilled and graceful artists, adored and respected. The house’s favorite geisha, Hatsumomo (Gong) is jealous of Chiyo, worrying that one day Chiyo will replace her, and she treats Chiyo with disdain. Later, Hatsumomo forces Chiyo to destroy an expensive kimono worn by her rival, Mameha (Yeoh). Unable to pay off her debt, Chiyo is taken off the geisha school and reduced to be a maid.

One day, a broken Chiyo meets the dashing Chairman (Watanabe), who shows her kindness. Chiyo vows to grow up to be a geisha, so she can one day see the Chairman again. With the help of Mameha (who knows all about Hatsumomo and that Chiyo was just a scapegoat), Chiyo quickly learns to become Japan’s most celebrated geisha, now named Sayuri. Of course, Mameha’s intention isn’t totally pure. With her new fame, Sayuri is tangled in a web of deceit, scheming and rivalry with Hatsumomo and her protégé, Pumpkin (Kudoh). As she pines for the Chairman, Sayuri is reminded once and again that geishas are like delicate flowers or prized paintings; they are to be pursued, but never to pursue their own destinies.

There’s really no good way of condensing the story of MEMOIRS OF A GEISHA into 100 words. It’s also a difficult task to condense the immense novel into a 2-hour movie. The large cast of characters and complicated subplots add richness to the novel, but become cumbersome on film. Writers Swicord (PRATICAL MAGIC) and first-timer Wright fail to bring Golden’s richly layered and nuanced story to life. Instead, what we see is something that is culturally superficial and stiff and humorless. The script feels heavy and stifling. Secondary characters are reduced to footnotes. The women are clearly the focus here, so the men (including the pivotal ones such as the Chairman, the Baron, or Mr. Nobu) are not allowed to show any depth.

The performances are generally respectable. Zhang (2046) is convincing as the fragile but strong, romantically desperate Sayuri. She’s giddy as the young girl, and she matures as her character grows older. As Mameha, Yeoh (TOMORROW NEVER DIES) has one of the best roles in the film. She shows grace and gentleness, and a much-needed sense of humor. In comparison, Gong (EROS) is a bitch from hell, and she does a great job portraying the villainous character. Ohgo (YEAR ONE IN THE NORTH) is particularly impressive as young Chiyo.

The men are largely serviceable. Watanbe (BATMAN BEGINS), as Chiyo/Sayuri’s object of affection, is refined and restrained. Famed Japanese actor Yakusho, best-known to American audience as Mr. Sugiyama in SHALL WE DANCE, is affecting and sincere as Nobu. Tagawa (ELEKTRA) plays the Baron with adequate sliminess. Veteran Japanese actor Mako has a brief cameo as Chiyo’s father.

The truth is, the actors are most often lost in the yarn of interweaving storylines. Unfortunately, director Marshall (CHICAGO) spends too much time framing tight, beautiful shots of tapestries and gardens and architecture, and not enough time developing the characters. MEMOIRS OF A GEISHA is a beautiful film, with exquisite details and artistry. But buried in the fine art is a hollow shell of storytelling. Many plot threads are left untied, and we’re constantly reminded of what we’re supposed to feel for these characters, but never truly experience it. Like the audience at a geisha theater, we’re only allowed to watch from a distance, but never to reach deep into the characters’ hearts. So, perhaps it’s fitting that MEMOIRS OF A GEISHA is like the geisha herself – something to desire and imagine, but never to really know and feel.

The Family Stone

Stars: Diane Keaton, Craig T. Nelson, Sarah Jessica Parker, Rachel McAdams, Dermot Mulroney, Luke Wilson, Claire Danes, Tyrone Giordano, Brian White, Paul Schneider, Elizabeth Reaser
Director: Thomas Bezucha
Writers: Thomas Bezucha
Distributor: 20th Century Fox
MPAA Rating: PG-13 for some sexual content, drug references
Running time: 102 minutes

Script – 6
Performance – 8
Direction – 6
Cinematography – 7
Music/Sound– 7
Editing – 7
Production – 8

Total Score – 6.9 out of 10

The film’s title has double meanings: It’s a story about the Stone family, but it also centers on the family stone, an heirloom diamond ring that gets passed down from generation to generation. In a nutshell, THE FAMILY STONE is a story about family.

Every Christmas, the Stones gather at the parents’ house for a long weekend. Mama Sybil (Keaton) and Papa Kelly (Nelson) Stone are a loving, laid-back couple. Their children: first-born Everett (Mulroney), a successful businessman (and the one most unlike the rest of the family); Ben (Wilson), a stoner from Berkeley; Susannah (Reaser), a expecting housewife with a young daughter Elizabeth (Savannah Stehlin); Amy (McAdams), an aimless single woman; and Thad (Giordano), their deaf and gay youngest son.

This year, Everett decides to bring his girlfriend Meredith (Parker) along to meet the family. Meredith is an uptight control-freak who thinks everyone is against her. Everett intends to propose to her during the weekend, and he wants to have his mother’s ring (the family stone). Knowing her son more than he knows himself, Sybil refuses to give him the ring. Meredith, on the other hand, digs herself deeper and deeper into a hole as she sticks out like a sore thumb around the Stones. In desperation, she asks her sister Juile (Danes) to come as her support. The weekend unfolds with the usual family dramas, secrets, heartbreaks and unexpected romances.

The cast is generally very good. Parker (STRANGERS WITH CANDY) sheds her Carrie Bradshaw image and arrives as the wound-up doll with a spoon up her butt. She has the most showy role and she delivers. Mulroney (MUST LOVE DOGS) plays her equally uptight beau with good nature. McAdams (RED-EYE) is spunky, and Wilson (WENDELL BAKER STORY) is groovy as her stoner brother. Giordano (A LOT LIKE LOVE) and White (DIRTY) are sweet as the adorable gay couple. Reaser (STAY) has the obscure role as the quiet and supportive sister, but she handles it with tenderness. Danes (SHOPGIRL) is the complete opposite of Meredith, but somehow I feel like she’s just playing herself. Keaton (SOMETHING’S GOTTA GIVE) is, as usual, wonderful, and Nelson (THE INCREDIBLES) is equally affecting and touching.

Director Bezucha (BIG EDEN) has a knack for small, sweet tearjerkers. He knows how to let his actors do their job. With such a huge and talented cast, Bezucha keeps it very straight and simple. It’s not an easy task and I think he has done a good job. The actors are clearly the strength of this familiar tale of holiday tale.

As a writer, though, he’s almost shameless when handing out heart-tugging morsels. From the quiet chat between father and son, to the soul-baring confessions between would-be lovers, Bezucha is relentless with the sentimentality. It’s not to say he’s always heavy-handed. There are certainly some genuinely touching moments: when Susannah cuddles with her mother in bed, or when Ben asks his father an important question. These moments do tend to put a lump in one’s throat.

However, Bezucha also hits you with a two by four with social commentaries with regard to homosexuality, or the “follow your heart” spiel. It gets preachy, especially toward the end. It’s kind of suspicious that the only perfect couple is gay. The plot is all too predictable, and at the end, all the loose ends get tied up neatly with a big red bow. The ending feels like an epilogue – “and they all live happily ever after” – presented as a Hallmark card (I would have preferred the film ending with the close-up of Mulroney). Too nice. Almost too sweet. THE FAMILY STONE is a fantasy. It’s not to say it’s bad. But it’s familiar and sweet and perfect, and no family fare should be this perfect.

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

Stars: Georgie Henley, Skandar Keynes, William Moseley, Anna Popplewell, Tilda Swinton, James McAvoy, Jim Broadbent, Liam Neeson (voice)
Director: Andrew Adamson
Writers: Ann Peacock, Andrew Adamson, Christopher Markus, Stephen McFeely (based on novel by C.S. Lewis)
Distributor: Walt Disney Pictures
MPAA Rating: PG for battle sequences and frightening moments
Running Time: 140 minutes

Script – 7
Performance – 7
Direction – 8
Cinematography – 8
Music/Sound– 7
Editing – 7
Production – 8

Total – 7.5 out of 10

It’s only a matter of time before C.S. Lewis’s beloved The Chronicles of Narnia arrives on the big screen (despite earlier TV adaptations). After the phenomenal success of THE LORD OF THE RINGS, Narnia seems like a perfect destination next to Middle Earth.

At the height of WWII, the Pevensie children -- Peter (Moseley), Susan (Popplewell), Edmund (Keynes) and Lucy (Henley) -- are sent to a country mansion owned by eccentric Professor Kirke (Broadbent). Missing their mother, the bored children play a game of hide-and-seek and little Lucy discovers a wardrobe that leads her to a winter wonderland called Narnia. There, she meets a faun, Mr. Tumnus (McAvoy), who warns her of the White Witch (Swinton) who has bestowed winter on Narnia for the past 100 years. Edmund follows Lucy to Narnia, and is promptly seduced by the White Witch’s magic and sweet treats. She asks Edmund to bring his siblings to her.

Soon, the four children found Narnia again, and are promptly hunted by the White Witch and her wolves. Helped by a group of talking animals, they escape and are on their way to find Aslan the King (Neeson), who returns to Narnia to fulfill a prophecy. Little do the children know that they’re part of the prophecy. Soon, the White Witch declares war on Narnia and Aslan, and the children must rise to the occasion and help defeat her and bring freedom to Narnia.

Writer-director Adamson (SHREK 2) had the difficult job of making the fantastic elements and characters of NARNIA come alive in this adaptation. Not to mention the inevitable comparison to Peter Jackson’s hugely successful THE LORD OF THE RINGS series. In a way, it’s not fair to compare the two. NARNIA is an allegorical children’s fantasy, with cute talking animals and straightforward “good vs. evil” messages. NARNIA feels smaller and simpler, yet equally magical. Adamson succeeded in transporting us to a fantastic world and expanding our imagination. Besides the grand, epic cinematic moments, there are quiet, sweet moments that are just as affecting -- for example, Lucy and Mr. Tumnus have a wonderful scene together by the fireplace.

Not to say there are no shortcomings. At 140 minutes, the film feels a bit too long. It drags at places, and the character development is somewhat lacking. For example, Edmund’s betrayal seems forced; we’re led to believe why Edmund betrays his sibling, but I’m not convinced. Next to HARRY POTTER, the story seems a bit too old fashioned and slow. Also, throughout the film and especially at the end, the children never seem to miss their family. That makes the children seem callous.

Despite the presence of some veteran actors such as Broadbent (ROBOTS) in minor roles, the film rests heavily on the four young, mostly-unknown actors. They all do a good job, especially Henley who plays Lucy. She has an expressive sweetness that is both convincing and touching. Popplewell (GIRL WITH THE PEARL EARRING) is the most experienced actor of the four, and she’s done a good job as Susan, the sensible one. The boys are good, too, but the girls definitely steal the show. Neeson (BATMAN BEGINS) is majestic as the voice of Aslan, and Swinton (BROKEN FLOWER) is coldly evil as the White Witch (although the character, in my opinion, could hardly qualify as the most terrifying villain of all times).

There’s no denying that C.S. Lewis’s story is a Christian allegory. All the clues are there, and it doesn’t take a genius to figure them out. Nevertheless, you don’t have to be a Christian to enjoy the timeless tale of good vs. evil and salvation. The special effects are very well done. The talking animals, especially the beavers and Aslan the Lion King, are impressive. The centaurs and satyrs and griffins are fantastic. I am, however, surprised by the PG rating. The film is way too frightening and brutal for children, especially when kids are depicted as armor-donning, sword-wielding warriors who slay their enemies in bloody battles. While the cuddly animals and magical elements might enchant the littler ones, the film is way too violent for most children. With that in mind, THE CHRONICLES OF NARNIA is a decent fantasy film for the entire family to enjoy.

Aeon Flux

Stars: Charlize Theron, Marton Csokas, Jonny Lee Miller, Sophie Okonedo, Frances McDormand, Pete Postlethwaite, Amelia Warner
Director: Karyn Kusama
Writers: Phil Hay, Matt Manfredi (based on characters by Peter Chung)
Distributor: Paramount
MPAA Rating: PG-13 for violence and sexual content
Running time: 90 minutes

Script – 3
Performance – 5
Direction – 4
Cinematography – 7
Music/Sound– 6
Editing – 6
Production – 8

Total Score – 5.7 out of 10

AEON FLUX first arrived on the cultural scene as an animation short on MTV’s LIQUID TELEVISION. The high energy, ultra-strange characters and story were fascinating to the MTV babies. The question is, would the whole thing translate to the big screen as a full-length, live action feature?

In 2021, a deadly virus wipes out 99% of the world’s population, and the survivors settle in Bregna, the last city on Earth protected by a thick wall. The scientists who save them, led by Trevor Goodchild (Csokas), form a ruling government and their duties are to keep the citizens safe. 400 years later, the citizens become restless as people start to disappear, and they feel scared living in such a highly-controlled “Utopia.” A secret faction called the Monicans, led by the Handler (McDormand), is determined to rebel and overturn the government and set the people free.

Aeon Flux (Theron) is the best of the Monicans, almost a super-human. Her job is to infiltrate the government and sabotage their systems. Then her sister, Una (Warner), is mistaken as a Monican and killed by law enforcement. Aeon’s mission becomes personal. Her next order is to assassinate Goodchild. When she finally finds him, something strange stirs inside her and she can’t carry out her task. Believing there’s something deeper than what’s at stake, Aeon abandons her order and searches her instincts, eventually leading her back to Goodchild and finding the truth behind everything.

Theron (NORTH COUNTRY) impressed us in MONSTER (and won an Oscar for that). Here, as an action heroine, most of the time she simply looks like a model posing for a photo shoot. In extremely skimpy clothing, I may add. Don’t blame Theron for turning in a cookie-cutter performance, though; nor Csokas’s (KINGDOM OF HEAVEN) as Trevor Goodchild. Their archetypical roles don’t require much depth. Csokas and Theron are very attractive, and they do look great together. Miller (MELINDA & MELINDA) has the thankless job of playing an uninspired villain. And McDormand’s (NORTH COUNTRY) talent is totally wasted as the Handler. The only person who leaves a definitive impression is Okonedo (HOTEL RWANDA) as fellow Monican, Sithandra. Her resolves and loyalty leave her with an interesting conflict.

But we don’t see AEON FLUX for the acting, do we? First, the good things. The production design is pleasing with some cool visuals. I’ve never seen such clear and beautiful eyes in these actors. Some of the action sequences are also cool, most notably the “garden” scene in which Aeon and Sithandra must get through a manicured garden stocked with deadly weapons. Even so, for a high-concept sci-fi movie, the production doesn’t necessary “wow” us. Its concepts of the “future” have that “seen that before” feeling. Everything is slick and sterile (doesn’t anyone believe in vintage anymore in the 25th Century?) Still, by far, the production is the best part of the film – it just doesn’t mean it’s great.

Now on to the bad. The screenplay by Hay and Manfredi (THE TUXEDO) is paper-thin and nonsensical. Sure, it happens in the future in a strange, controlled society, but at least explain how Aeon Flux could leap 100 feet or fall 50 feet unhurt or dodge bullets like she’s a mutant in X-Men. The screenwriters ask for a huge – and I mean huge – dose of suspension of disbelief. And the plot is so unoriginal and predictable – hard to believe with such a high-concept production. There’s almost no suspense since one can easily guess what is happening (hint: It’s been 400 years, but Trevor and Oren Goodchild are still alive). The characters are so obvious that we can call out the good guys vs. the bad, even blindfolded. The coolness of the original characters are replaced by a detached, quasi-futuristic blandness.

Director Kusama (GIRLFIGHT) can’t lift the film out of its material either. Her direction is often clunky and lacking in imagination. There are many confusing moments and the editing could use some work to streamline the plot, especially since it’s such as simple plot. Kusama does have a keen visual style, but all that is buried by a clunky plot and unimaginative action sequences. With all that stacked against it, AEON FLUX is a flux to avoid.

RENT

Stars: Anthony Rapp, Adam Pascal, Rosario Dawson, Jesse L. Martin, Wilson Jermaine Heredia, Idina Menzel, Tracie Thoms, Daye Diggs
Director: Chris Columbus
Writers: Steve Chbosky (based on the musical by Jonathan Larson)
Distributor: Sony Pictures
MPAA Rating: PG-13 for language, drugs and sexuality
Running time: 135 minutes

Script – 6
Performance – 8
Direction – 6
Cinematography – 7
Music/Sound– 8
Editing – 6
Production – 7

Total Score – 6.8 out of 10

Everyone had high hopes for RENT to follow CHICAGO (forget PHANTOM OF THE OPERA) to become the musical event of the year. RENT, the crown prince of Broadway musicals in the 90s, makes a rough translation to the big screen in the hands of veteran director Chris Columbus.

The year is 1989 – at the end of the millennium. Mark (Rapp), a would-be filmmaker, and Roger (Pascal), a would-be songwriter, are roommates living in the slums of Alphabet City (Avenue A, to be exact). Their old roommate, Benjamin (Diggs), married an uptown girl whose father wants to redevelop Alphabet City into posh condos. Benjamin threatens to evict everyone for not paying their “last year’s rent,” unless Roger and Mark could persuade Mark’s ex-girlfriend Maureen (Menzel) to stop her protest against the landlords. Mark doesn’t want to have anything to do with Maureen after she dumped him and hooked up with a lesbian lawyer, Joanne (Thoms). Meanwhile, their gay friend Tom Collins (Martin) meets a drag performer Angel (Heredia) and falls in love. And Roger, hurt and downtrodden, refuses his neighbor Mimi’s affection. Roger has a secret he doesn’t want to share, and he sure doesn’t want to hook up with a drug-addicted stripper like Mimi.

Based on the opera LA BOHEME, RENT follows this group of down-and-out, self-appointed Bohemians through their trials and tribulations during the AIDS era. There are the “positives”: Tom, Angel, Roger, and Mimi. And the “negatives”: Mark, Maureen, Joanne, and Benjamin. “Rent” becomes a symbol of life: to live, or to die living.

Much of the original Broadway cast returns to this production. Rapp (WINTER PASSING) is touching as Mark – the sensitive, slightly-effeminate straight guy. He has some really great moments, including an interesting tango scene. Pascal (TEMPLATION) is also affecting as the withdrawn Roger. His motivation is sometimes confusing, but his voice is strong. Dawson (SIN CITY), one of the biggest names in the production, is excellent as the doomed Mimi. She shows feistiness but also vulnerability, and her drug-induced descent is believable. Martin (LAW & ORDER) and Heredia (FLAWLESS) are great as the gay couple, ironically the most well-adjusted two in the group. Menzel (JUST A KISS) and Thoms (BROTHER TO BROTHER) have a ball playing the lesbians. Menzel particularly has great fun during her protest performance. Diggs (SLOW BURN) is underused, here; thus, his performance really doesn’t make that much of an impression.

Larson’s book and music were the sensation on Broadway back in the mid-90s, propelling the show to becoming one of the most lauded productions in history. In 2005, the story now seems dated. The AIDS era seems so passé, as well as the struggling artists storyline. If only director Columbus (FANTASTIC FOUR) hadn’t apply such a straight-laced, heavy-handed approach in making this film. The script, by relative newbie Chbosky (THE FOUR CORNERS OF NOWHERE) might have worked on stage, but it doesn’t translate well on screen. The talking lyrics simply feel odd. A master such as Rob Marshall would have made that work, as he did with CHICAGO. But here, the way the singing heads sing through their dialogue (then back to normal speech) and break into songs really dates the film.

While the production seems lacking, the music and songs are what makes RENT still a musical lover’s darling. Columbus has the good sense of opening the film with the signature piece, having all the leads on stage, dark with only spotlights shining on them, singing the rousing “Seasons of Love.” There are other memorable songs, and these set pieces are generally well done. It’s the in-between scenes that rather drag the film down, and the ending feels cheesy, especially in the film medium. Again, sometimes something that works on stage simply doesn’t work that well on screen. Still, if you’re a fan of the musical, you wouldn’t want to miss this at the theaters. For others, just rent it.

Walk the Line

Stars: Joaquin Phoenix, Reese Witherspoon, Ginnifer Goodwin, Robert Patrick, Dallas Roberts
Director: James Mangold
Writers: Gill Dennis, James Mangold (based on Johnny Cash’s biography and book, The Man in Black)
Distributor: 20th Century Fox
MPAA Rating: PG-13 for language, thematic material and drugs
Running time: 136 minutes

Script – 8
Performance – 8
Direction – 7
Cinematography – 8
Music/Sound– 8
Editing – 7
Production – 7

Total Score – 7.6 out of 10

Hollywood loves a good biopic about rock stars. Last year, we had the exceptional RAY. This year, we have WALK THE LINE, a fine story about the original man in black: Johnny Cash.

The film opens at the Folsom prison, where the thumping beats of a band rouse the inmates with roaring anticipation. Then the story flashes back to Johnny Cash’s (Phoenix) childhood. Born to a poor farming family, Johnny and his big brother Jack (Lucas Till) are very close. Then tragedy strikes, and their father, Ray (Patrick), blames Johnny for Jack’s death. When Johnny grows up, he marries his sweetheart Vivian (Goodwin), moves to Memphis, and takes up a job as a salesman. But his heart belongs to music. One day he takes the bull by the horns and auditions at a studio. His unique voice and heart-felt songs impress the owner, Sam Phillips (Roberts), and Johnny is quickly signed with the studio.

While on tour, Johnny develops a crush on fellow singer-songwriter June Carter (Witherspoon). They hold off their mutual attraction toward each other because they’re both married with children. To get himself through the frustration and the crazy lifestyle, Johnny becomes addicted to drugs, and he starts to alienate himself from his friends and family, including June. She finds herself falling in love with him, but she knows she shouldn’t – she’s frightened by his way of life, and how people are going to perceive her, especially among fellow Christians. Johnny’s self destruction takes a toll on both of them. Eventually, they must find a way to right their lives and deal with their love for each other.

Phoenix (LADDER 49) is sensational as the bigger-than-life Johnny Cash. It’s not easy to portray such as public figure. There’s a fine line between impersonation and soulful characterization. Phoenix succeeds in making the role his own. His young face is etched with lines of agony, remorse and confusion. Surely, he must channel his anguish of losing his own brother River years ago, and the deep hurt is apparent. Likewise, Witherspoon (JUST LIKE HEAVEN) gives a wonderful performance as the love of Johnny’s life. She balances her perky cuteness with soulful solemnity and maturity. She’s the moral center of Johnny’s life, and we feel their love and suffering together. Phoenix and Witherspoon make a good pair. Even more impressive, they sing their own songs. Their “Jackson” duet rivals the original with Johnny and June.

The supporting cast is strong. Goodwin (WIN A DATE WITH TAD HAMILTON) is affecting as Johnny’s bored, scared, and betrayed first wife Vivian. Patrick (LADDER 49) gives a solid performance as Johnny’s estranged father, and Roberts (A HOME AT THE END OF THE WORLD) impresses with his minor but pivotal role as the Sam Philips, the man who discovered Johnny Cash. Several actors have interesting cameos as Elvis Presley (Tyler Hilton), Jerry Lee Lewis (Waylon Payne) and Roy Orbison (Jonathan Rice), giving the film an amusing historical perspective.

Writer-Director Mangold (IDENTITY) has crafted a heart-felt, solid biopic. However, one can’t help but compare WALK THE LINE with last year’s RAY. Similar time periods, comparable stars, and parallel life stories that include childhood loss, infidelity, drug abuse, and family. It’s not fair to compare both films, but the similarities and differences are there. WALK THE LINE is a solid, entertaining film. The music is catchy and enjoyable, even if you’re not a Johnny Cash fan. Mangold makes an interesting choice of not aging the actors with makeup – even though the story covers only 15 years, the result is still somewhat weird. Also, the central conflicts in this film seem trivial and self-inflicting. It’s not to say Johnny Cash’s trials and tribulations are not valid; I just can’t shake the feeling that Cash really did lead a charmed life – he just chose to throw it away because he couldn’t live with himself. It’s not easy to sympathize with a central character like that.

Fortunately, there’s the character of June Carter. She’s the light and rock in the film. Witherspoon lights up the screen whenever she’s on, and she’s playing one of the best loved figures in music history. With that, we’re willing to go on the journey with them, just to see how she and Johnny can work it all out. Thus, the ending is both satisfying and appropriate. WALK THE LINE might not be a masterpiece, but between being a good biopic and a great love story, this film walks that line just beautifully.

Shopgirl

Stars: Steve Martin, Claire Danes, Jason Schwartzman, Bridgette Wilson, Sam Bottoms, Frances Conroy
Director: Anand Tucker
Writer: Steve Martin (based on his novel)
Distributor: Buena Vista
Rating: R for language, nudity and sexual situations

Script – 6
Performance – 8
Direction – 6
Cinematography – 7
Music/Sound– 5
Editing – 7
Production – 7

Total – 6.5 out of 10

Steve Martin once said that if Claire Danes didn’t get an Oscar nomination this year, he would kill himself. Well, soon the Academy Awards will be upon us, and we’ll see if Martin would have to eat his words.

Mirabelle Butterfield (Danes) is a disillusioned girl from Vermont, who arrived in Los Angeles in hopes of becoming an artist. Stuck at a boring job selling gloves at Saks in Beverly Hills, Mirabelle watches apparently-happy couples come and go, and dreams of a romance of her own. She meets Jeremy (Schwartzman), a would-be rocker living in a crappy apartment, a boy trapped in a grown man’s body. Mirabelle and Jeremy don’t really hit it off from the start, but they share a cautious but mutual attraction.

Then a wealthy divorcee, Ray Porter (Martin), starts to court Mirabelle. Ray is a complete opposite to Jeremy: wealthy, attentive and gentlemanly. Lured by Ray’s mature charm, Mirabelle carries on a sexual relationship with him and ditches Jeremy, who in turn joins a rock band and goes on the road for months. Despite the fact that Ray has warned Mirabelle he would never be close to her and love her back, she falls in love with him anyway.

Regardless of Martin’s arrogant claim, Danes (STAGE BEAUTY) is rather exceptional in this offbeat tale of love and discovery. Her character is very hard to play, because so much of it is internalized and her actions only speak part of the truth about her. Danes handles the role very well and we believe her. She’s also beautiful and funny and introspective, reminding me of Audrey Tautou in AMIELIE. Martin (CHEAPER BY THE DOZEN) plays against type as the reserved, remote and restrained Porter. His role is probably the hardest to play, since the audience is not allowed to get inside his head or heart (except for one scene in which he talks to, supposedly, his psychiatrist). Surprisingly, Martin and Danes have great chemistry together, despite their age difference. Schwartzman (BEWITCHED) probably has the most fun playing the goofball boy-man Jeremy. In a way, it’s also the most superficial role of the three leads, but a very good comic relief. His performance makes us laugh.

The supporting cast is fine. Wilson (EXTREME OPS) has the thankless job playing the only villain/vixen. But her scenes with Schwartzman are hilarious. Bottoms (SEABISCUITS) and Conroy (BROKEN FLOWERS) play the almost-silent parts of Mirabelle’s depressing parents to perfection.

Based on Martin’s novel, the film has an artsy fartsy feel to it. From the opening scenes to the lingering close-ups to the deliberate medium shots, the film is an exercise of mixing the profound with the profane. At times, it feels tired though. Martin’s voice over is specially cheesy and unnecessary. It takes us out of the story. Besides, having Martin playing a main character and serving as the narrator confuses the audience. The film also has a grating loop of background music. Cut that out!

In director Tucker’s (HILARY & JACKIE) inexperienced hands, the film actually feels solid, but uneven. At times it is hilarious, with its quirky characters and funny dialogue. At times, especially when the film focuses on the relationship between Mirabelle and Ray, it feels heavy-handed. A few scenes also feel melodramatic, and lack certain sincerity that is otherwise prevalent in the rest of the film. The characters’ transformations at the end feel inevitable. Still, it’s a nice little film with interesting characters. Look for it at the shops if you want something a little different.

Kiss Kiss Bang Bang

Stars: Robert Downey Jr., Val Kilmer, Michelle Monaghan, Corbin Bernsen, Dash Mihok
Director: Shane Black
Writer: Shane Black (based in part on Brett Halliday’s novel, Bodies Are Where You Find Them)
Distributor: Warner Bros.
MPAA Rating: R for language, violence, sexuality and nudity
Running time: 103 minutes

Script – 8
Performance – 8
Direction – 8
Cinematography – 7
Music/Sound– 8
Editing – 8
Production – 8

Total Score – 7.8 out of 10

KISS KISS BANG BANG is not your normal Hollywood fare. At times it reminds me of GET SHORTY, but smarter and funnier.

Harry Lockhart (Downey) is a down-and-out petty thief who, through some cosmic joke, ends up in Hollywood as the action star of a new movie. While at a posh party thrown by the studio execs, Harry meets his childhood crush, Harmony (Monaghan) after more than 15 years. She’s an aspiring actress, but her real reason in Los Angeles is to find her runaway sister. Meanwhile, Harry teams up with a private detective Gay Perry (Kilmer), who serves as a consultant for the movie, to learn about his role as a PI. Gay Perry takes him on a stint, and they witness the murder of the daughter of a prominent actor, Harlan Dexter (Bernsen). Between running from the killers and trying to figure out what is going on, Harry, Harmony and Perry race against time to figure out “whodunit.” The chase is on.

It would be difficult to summarize the plot as this film takes the audience on a wild goose chase. Much of the fun of watching this movie is the fact that we don’t know where it’s taking us.

Downey Jr. (GOOD NIGHT, GOOD LUCK) is in top form here. It’s fun to see him playing a neurotic bumbling fool again. And it seems like he had a lot of fun doing it as well. While I don’t see him getting up to the podium at the Oscars soon, he truly has Harry’s character nailed. Kilmer (ALEXANDER) is also fun to watch as the gay PI. His deadpan humor and coolness are great juxtaposition to Downey’s twitchy neurosis. Together, they’ve become one of the best buddies this year, and I think we’re going to see them together again some time in the future. Monaghan (CONSTANTINE) completes the trio with her sassy, slightly ditsy turn as Harmony. She plays well opposite her two male costars, and she and Downey are steamy together.

Writer and first-time director Black (LEATHAL WEAPON series) has crafted a unique and fun ride. It’s great to see a film noir executed so well. Black employs some unconventional and interesting techniques – for example, he stops the narrative sometimes and has Downey explain what is going on. Voice-over narrative is not new in film noir, but the way Black does it is extra cool. He also interweaves the story with flashbacks and cinematic “footnotes.” Interesting. In a way, it’s somehow foretelling since we know Downey’s character is going to survive, at least long enough to tell the story. On the other hand, Black succeeds in tightening the suspense and mystery by giving us crumbs here and there, then telling us by using flashbacks or on-screen narration. It’s a unique approach and it works.

The film is highly original, funny, wacky, and very entertaining. There’s not a dull moment, and some of the plot twists are so bizarre that we can’t help but say, “Wait a minute…” It doesn’t really matter. It’s a bang-bang joy ride.

Prime

Stars: Meryl Streep, Uma Thurman, Bryan Greenberg, Jon Abrahams, Zak Orth
Director: Ben Younger
Writer: Ben Younger
Distributor: Universal
MPAA Rating: PG-13 for sexual content, language, adult themes
Running time: 105 minutes

Script – 6
Performance – 7
Direction – 7
Cinematography – 7
Music/Sound– 8
Editing – 7
Production – 7

Total Score – 7.0 out of 10

The trailers of PRIME give the impression that this is a laugh-out-loud romantic comedy. In truth, PRIME is a humorous drama that examines relationships with regard to differences in age, intimacy, religions and cultural backgrounds.

The title, PRIME, alludes to the fact that the two romantic leads are each at their respective sexual prime. Rafi (Thurman) is a 37-year-old fashion designer who suffers self-esteem issues and is seeking psychotherapy. A week after her heartbreaking divorce, she meets sweet and cute David (Greenberg) and they hit it off immediately. At first Rafi thinks David is 29 and a little too young for her, and when she discovers that David is actually 23, she freaks out. But the attraction between them is so strong, and David makes her feel so young and alive and loved that she throws caution in the air. Also, she has her dear, trusting therapist, Dr. Lisa Metzger (Streep), to confide in.

Rafi has no idea that David is Lisa’s young son. She shares every intimate detail with Lisa during her sessions, and asks for her opinion. Before long, Lisa figures out who “David” really is and she freaks out. But she truly, sincerely cares about Rafi’s wellbeing, thinking that it is just a May-December fling between David and Rafi. She sticks around and tries to be the non-judging therapist she is, despite her own issues dealing with information about her own son’s sex life, and the fact that he’s dating a woman 14 years his senior. Worse, Rafi’s not a Jew!

The premise sounds hilarious enough. And some scenes, especially between Rafi and Lisa, are in fact hilarious. But the film is, at its very core, a serious drama about romance and relationships – not only between lovers, but also between parent and child.

Streep (LEMONY SNICKET’S A SERIES OF UNFORTUNATE EVENTS) proves that she could do comedies as effortlessly as she could dramas. Well, it’s not fair to peg her role as comedic, since she has some fine dramatic moments; but seeing her squirm and twitch and fluster while listening to Rafi describing her son’s “beautiful penis” is well worth the price. Streep is a seasoned actor, and she handles the conflicted character very well. Thurman (BE COOL) is also excellent, playing the middle-aged woman in love with a man almost half her age with equal doses of self-pity, maturity and giddiness. It helps that she truly is gorgeous, even at her age. Her chemistry and timing with Streep are impeccable.

Greenberg (PERFECT SCORE) holds his own against the two veteran actresses. He is handsome, charming and loving, and you believe that a 37-year-old woman could really fall for him. Then when he acts like a child, you also believe him so much that you just want to scream, “Grow up already!” Abrahams (HOUSE OF WAX) is funny in his minor role as David’s womanizing jerk of a close friend, Morris. Now, why would David hang out with a punk like Morris is not entirely clear – they can’t be more different.

Writer-director Younger’s (BOILER ROOM) script is uneven. At times this feels like an out-and-out romantic comedy or a satire. At times it feels like a family drama. However, Younger’s dialogue is usually true and spot-on, and he handles the complex relationships with interesting insight. Some of scenes and dialogue are really funny. And some touching.

Still, I think the work is uneven. The characters of Rafi and Lisa are very well written, and their relationship is rendered beautifully. Coupled with the wonderful chemistry and performances of Streep and Thurman, the scenes between Rafi and Lisa are the best things about this film. Unfortunately, when the focus switches to Rafi and David, the film somehow sags and drags.

It’s not entirely Younger’s fault, nor is it Thurman’s or Greenberg’s. I suppose what’s between Streep and Thurman is so strong that everything else just pales in comparison. Still, as much as I’d like to believe that a May-December relationship is possible, or as much as Younger wants us to believe that such a relationship would end badly, it doesn’t quite work on screen. Thurman and Greenberg are terrific actors, but their chemistry is off, even if so slightly. Again, Thurman and Streep are so good together that we just want to see more of them. If only the film focuses more on Streep and less on Greenberg (sorry, pal, nothing against ya), it would have, indeed, be a prime film to behold.

Capote

Stars: Philip Seymour Hoffman, Catherine Keener, Clifton Collins, Jr., Chris Cooper, Bruce Greenwood, Mark Pellegrino
Director: Bennett Miller
Writers: Dan Futterman (based on book by Gerald Clarke)
Distributor: SONY Classics
MPAA Rating: R for violent images, brief strong language
Running Time: 98 minutes

Script – 8
Performance – 9
Direction – 8
Cinematography – 8
Music/Sound– 8
Editing – 8
Production – 8

Total – 8.1 out of 10

When Truman Capote first set out to write a short article for the New Yorker, he had no idea how the story was going to change his life. Or how the eventual creative non-fiction, In Cold Blood, would make him the most famous American author of his time and change the American literary world altogether.

On a bleak wintry morning, a Kansas girl finds an entire family murdered. Thousands of miles away in New York City, sophisticated writer Capote (Hoffman) is telling his raunchy stories at a cocktail party. Later, he decides to research and write a story on the killings, and sets off to Kansas with his dear friend Nelle Harper Lee (Keener), who has just finished writing a novel entitled To Kill a Mockingbird.

During the following few months, Capote and Lee interview the townsfolk, including Sheriff Alvin Dewey (Cooper) who is heading the investigation. Soon, two men, Richard Hickock (Pellegrino) and Perry Smith (Collins), are apprehended, tried and convicted for the murders. Seeing Smith’s gentle and thoughtful side, Capote reaches in and manipulates him to tell his life stories. He makes Smith believe that he’s writing a sympathetic portrayal. Smith, on the other hand, also manipulates Capote to help him with his appeals. Four years later, Capote becomes so absorbed in the book and obsessed with the man that he can’t separate himself from it all. Smith still refuses to tell Capote what really happened on that fateful night. As Smith’s execution draws near, Capote slowly sinks into madness and depression, not only with trying so desperately to finish the daunting book, but also with the conflicted feelings he has for Smith.

Hoffman (ALONG CAME POLLY) is the Jamie Foxx of 2005. He so truly immerses himself as Truman Capote that he becomes the gay, peculiar, eccentric, self-absorbed writer himself. Physically, Hoffman has a striking resemblance to Capote. Complete with candid mannerisms, vocal inflections, and facial expressions, Hoffman is going to turn a lot of heads at the Oscars this year. Pit against Hoffman’s showy role, Keener (40 YEAR-OLD VIRGIN) offers a more subdued, understated, but equally impressive performance as great American author Harper Lee. Her gentle and resolute demeanor is, ironically, the yang to Hoffman’s ying.

Collins (MINDHUNTERS) is solid as the deep but deceitful Perry Smith. His portrayal of the complex man, who could be soft and worldly one minute then violent and cold another, is chilling and remarkable. Pellegrino (NATIONAL TREASURE) is smug and sinister in his relatively minor role as Hickock. Greenwood (BEING JULIA) is in fine form as Capote’s lover and fellow writer Jack Dunphy, while Cooper (BOURNE SUPREMACY) serves up another solid performance as the taciturn sheriff.

First time screenwriter Futterman has done a great job adapting Clarke’s book on the writing on In Cold Blood to the big screen. The dialogue is often sharp and insightful, capturing the essence of the time and the spirit of the characters. While the plot is complicated and fascinating, it’s never convoluted or confusing. We don’t always know what’s in Capote’s mind -- or Smith’s, for that matter -- but that makes the story even more captivating. The relationships (between Capote and Smith, Lee and Dunphy) are crucial to the intimate nature of the film, and the murder case serves as a good mystery. The script is intricate with themes and nuances as well.

Director Miller (THE CRUISE) has a deft style, sending us back to the late 50s and early 60s, and juxtaposes effectively the sophistication of the writers’ world in New York and Spain with the stark harshness in the corn fields and penitentiaries in Kansas. Miller has a keen eye for composition, structures and colors. His pacing of the story is also pitch-perfect, never moving too fast or lingering for too long. Supported by a brilliant cast, Miller has crafted a mesmerizing tale of one of the most influential books and one of the world’s most fascinating writers: Capote.

Elizabethtown

Stars: Orlando Bloom, Kirsten Dunst, Susan Sarandon, Alec Baldwin, Bruce McGrill, Judy Greer, Paul Schneider
Director: Cameron Crowe
Writer: Cameron Crowe
Distributor: Paramount
MPAA Rating: PG-13 for language and some sexual references
Running time: 123 minutes

Script – 7
Performance – 7
Direction – 8
Cinematography – 8
Music/Sound– 9
Editing – 8
Production – 7

Total Score – 7.6 out of 10

Since the Oscar-nominated JERRY MCGUIRE, writer-director Cameron Crowe has given us slices of the American pie with some hits and some misses. ELIZABETHTOWN follows the same quirky path after his long hiatus since VANILLA SKY failed at the box office.

Drew Baylor (Bloom) is a hotshot shoe designer whose flagship design just costs the company $956 million. Fired and humiliated by what he calls a “fiasco” and not just “failure,” Drew is about to kill himself when his sister (Greer) calls and tells him his father has died while visiting his hometown, Elizabethtown, KY. Drew promises his shocked mother-in-denial (Sarandon) that he would bring his father home.

On the red-eye flight to Kentucky, the defeated Drew meets a perky, observant flight attendant, Claire (Dunst). Claire seems to have a way of seeing through Drew even though he tries so desperately to hide his pain. In the following week, as Drew deals with his long forgotten relatives and his father’s past, he forms a strange, almost-a-romance bond with Claire. Through it all, Drew begins to see where he is heading in life.

Bloom (KINGDOM OF HEAVEN), in his first contemporary leading role, is very likeable as the downtrodden Drew. His performance is affecting and true, full of nuances for a young actor who was virtually a newbie only four years ago. Dunst (WINBLEDON), on the other, is an old pro. She seems to have a knack for playing free-spirited, perky ingénues. Here, her spunk makes for an interesting counterpoint to Bloom’s broodiness. Both she and Bloom are still unproven properties in Hollywood; after this film, perhaps things will change for them.

The supporting cast play an eclectic group of characters, headed by Sarandon (ALFIE) as Drew’s mother Hollie. She’s always an actor’s actor, and she puts in her all for this relatively brief and small role. She’s particularly touching in one bizarre scene where she tells jokes about her late husband, then proceeds to tap dance to Moon River. The prolific Baldwin (AVIATOR) can probably sleepwalk through his brief role as Drew’s unforgiving boss. McGill (CINDERELLA MAN) plays an old friend with equal amount of slime and sincerity. Greer (CURSED) is underused as Drew’s grieving, neurotic sister, but Schneider (CRUDE) makes a good impression as Drew’s slacker cousin Jessie.

Crowe has a gift for creating interesting, deeply flawed and introspective characters. And through his characters’ eyes, we get to see some very unique worldviews. Sometimes, though, his quirky characters and situations border on being absurd and surreal. I think after a while it can lose its grips on reality. There are many memorable moments, though. I think how Drew and Claire really bond, over cell phones, is really cute and touching. There are some very interesting characters such as Jessie, but then there are also superficial ones simply there for comic relief.

Crowe is also very deft in creating his moods using just the right kind of popular music. The soundtrack and the road trip theme somehow pay tribute to his earlier, critically-acclaimed film, ALMOST FAMOUS. One of the strengths of this film is the use of music with very creative imageries. Sure, Crowe pulls out all the stops to try to make us cry and laugh at the same time. Sometimes the film feels manipulative, but sometimes genuine. I think that’s one of its problems – it’s uneven. And we pretty much know where the story is heading. Even so, it’s really about the journey, isn’t it? The ride is fun and ELIZABETHTOWN is a delightful and touching destination.

Wallace & Gromit: The Curse of the Were-Rabbit

Stars: Peter Sallis, Ralph Fiennes, Helena Bonham Carter, Peter Kay, Nicholas Smith, Liz Smith
Directors: Steve Box, Nick Park
Writers: Bob Baker, Steve Box, Mark Burton, Nick Park
Distributor: DreamWorks SKG
MPAA Rating: G
Running time: 85 minutes

Script – 8
Performance – 8
Direction – 9
Animation – 9
Music/Sound– 8
Editing – 8
Production – 10

Total Score – 8.8 out of 10

The team behind CHICKEN RUN and the WALLACE & GROMIT shorts is at it again, this time offering us a feature-length animation starring our beloved cheese-loving inventor and his silent dog.

Wallace (Sallis) and Gromit are a good team. While Wallace dreams up new inventions to make life easier for everyone including himself, Gromit takes care of everything including making breakfast and cleaning the house. Not to mention tending to their beautiful vegetable garden, in preparation for the Giant Vegetable Competition. Business is booming for their company Anti-Pesto, too, because there’s a persistent pest problem involving free-roaming rabbits. Lady Tottington (Carter) believes in getting rid of the problem humanely, despite the objection of her fiancé Victor (Fiennes), a gun-crazed hunter. Wallace handles it beautifully with his new invention, the “Bunny-Vac.” Using another new contraption that alters the minds, Wallace successfully retrains the rabbits to dislike vegetables. Problem solved.

Or so they thought. Suddenly, the town is terrorized by a giant rabbit that sabotages their vegetable gardens. Wallace and Gromit set out to find and capture the creature, while Victor insists on shooting it. As the competition draws close, the townsfolk become anxious and paranoid while Gromit discovers the awful truth about the creature. Wallace and Gromit must race against time to prevent Victor from killing the creature and save the Giant Vegetable Competition.

The voice talents serve the film well. Sallis’s voice IS Wallace. He captures the neurotic, kind and clueless nature of the absentminded inventor so well that it’s hard to imagine anyone else voicing that character. Gromit is, of course, always silent, but every arch of the brow or squint of the eye conveys so much with this character. Carter (CORPSE BRIDE) lends her effervescent, joyous voice to Lady Tottington beautifully. In fact, I think her performance here is so marvelous that it dwarfs her performance in that “other” claymation feature. Fiennes (CONSTANT GARDENER) is delightfully menacing as the self-absorbed Victor. It also helps that none of the lead talents look anything like their onscreen characters. The rest of the cast is simply amazing.

The writers, including directors Steve Box and Nick Park (CHICKEN RUN), have written a wonderful script. It’s imaginative, witty, and filled with colorful characters and interesting plot twists. Granted, it isn't difficult to figure out where the story is heading, but how the story gets to the end is a joyous ride. They give the characters wonderful, funny dialogue (and for Gromit, a lot of opportunities to emote). The story is straightforward but very smart and “logical,” given the genre.

It took five years for Box and Park to make CURSE OF THE WERE-RABBIT, and the effort pays off. The animation is not as slick as in CHICKEN RUN, but that’s exactly the charm of Wallace and Gromit, down to the occasional fingerprints and cheeky character designs. It’s not to say it’s a poor production – far from it. The sets and props and characters and animation are top-notch. There’s absolutely no doubt, when watching the film, that these are clay figures, real miniature sets and backdrops. The amazing thing, though, is that after a while, we do forget that we are watching an animation. These characters become real to us, and we care about them. Yes, especially the silent beagle named Gromit.

Oliver Twist

Stars: Ben Kingsley, Barney Clark, Leanne Rowe, Mark Strong, Jamie Foreman, Harry Eden, Edward Hardwicke
Director: Roman Polanski
Writers: Ronald Harwood (based on novel by Charles Dickens)
Distributor: TriStar
MPAA Rating: PG-13 for disturbing images
Running time: 130 minutes

Script – 7
Performance – 7
Direction – 6
Cinematography – 8
Music/Sound– 6
Editing – 6
Production – 9

Total Score – 7.0 out of 10

One must ask, how many times can we remake the classic tale of Oliver Twist? Granted, it’s a wonderful, timeless story by one of the best storytellers of all times, and the name Polanski also means certain quality (or promise) that naturally pulls me into the theater. So I’m willing to give this film a chance.

We all know the story. Oliver Twist (Clark) is an orphan. The now infamous “please sir, may I have some more” line gets him into a whole lot of troubles, and changes his life. Sold to a coffin-maker, Oliver defies the poor treatments he receives and escapes to London, where he meets a young vagabond named Artful Dodger (Eden). Seeing that Oliver needs a place to stay, Dodger sends him to his boss/mentor Fagin (Kingsley). An old thief ready for his retirement, Fagin teaches the boys how to pick pocket and steal. He takes a special liking to Oliver. There, Oliver meets the kind Nancy (Rowe) and her gruff burglar boyfriend, Sykes (Foreman).

During a mishap at the marketplace, Oliver is arrested and taken to the magistrate office for steeling a handkerchief from Mr. Brownlow (Hardwicke). Upon learning of Oliver’s innocence, Brownlow takes him in. Fearing that the boy would snitch on them, Sykes coerces Fagin and Nancy to kidnap Oliver and forces him to help burglarize Brownlow’s house. Nancy, remorseful for what she’s done to Oliver, tries to save him. But Sykes has another plan, one that would result in tragic ends for all of them…

Dickens’s classic tale is full of colorful and memorable characters. Heading the cast in this production is Kingsley (SUSPECT ZERO), who is barely recognizable as the derelict master thief. Kingsley disappears and becomes totally absorbed in the role. His Fagin is quite memorable. Clark (THE LAWLESS HEART) is fine as the titular character, a young boy whose fate makes us sigh with anguish. So, he is not as cute and sweet as Mark Lester in the 1968 OLIVER! (Kingsley also portrays Fagin differently than the enlightening Ron Moody in that production), but Clark’s portrayal is more resolute and determined, giving Oliver more edge and hero quality, instead of just a child in distress.

Rowe (BOUDICA) is adequate as Nancy, but she is no Shani Wallis, whose Nancy in OLIVER! was sensational. Same with Foreman (LAYER CAKE) as Sykes. Here, Foreman’s portrayal is rather lackluster, and his malevolence is merely a matter of story instead of character development. Again, in comparison, Oliver Reed made for a much more memorable Sykes in OLIVER!. Eden (PETER PAN) fares better as Artful Dodger – unfortunately, in this adaptation, Dodger doesn’t have much to do.

Harwood’s (BEING JULIA) script is more faithful to the original book than OLIVER! but it also makes the story so much darker and heavier, almost void of any humor. In comparison, OLIVER! was delightful and charming, even with its dark, serious third act. Perhaps that’s exactly what director Polanksi (THE PIANIST) wants. Dickens’s original tale was never cuddly and happy as the musical was. Oliver Twist is full of bad people, with bad intentions. Even with that understanding, this script feels long and dreary, dragging along in the second and third acts. In truth, the first act is this film’s best part.

However, I must give kudos to Polanski’s artistic vision. The production value of this film is remarkable. From the artful, scrumptious, painterly cinematography (by Pawel Edelman, RAY and THE PIANIST) to the costumes and sets and details, Polanski has succeeded in creating a world so real that it pulls us in immediately. We really could feel what it would be like to live in England during that time period. That and the timeless story and characters are what make this film worthy. If only Polanski had instilled some humor to lift the film from its deadly dark mood, this Oliver could have been more entertaining rather than simply depressing.

Flightplan

Stars: Jodie Foster, Peter Sarsgaard, Sean Bean, Kate Beahan, Michael Irby, Assaf Cohen, Erika Christensen, Marlene Lawston
Director: Robert Schwentke
Writers: Peter A. Dowling, Billy Ray
Distributor: Bruena Vista
MPAA Rating: PG-13 for violence and intense situations
Running Time: 93 minutes

Script – 7
Performance – 7
Direction – 7
Cinematography – 7
Music/Sound– 6
Editing – 8
Production – 8
Total – 7.1 out of 10

* The following review includes SPOILERS *

What if 450 people are trapped in a transatlantic flight with nowhere to go and a little girl is missing? What if it stars Jodie Foster in her action-hero mode? You get a Hitchcockian film called PANIC ROOM AT 37,000 FEET -- oops, sorry. It’s actually called FLIGHTPLAN.

Kyle (Foster) is a bereaved wife whose husband recently fell to his death in Berlin. Distraught and grieve-stricken, Kyle arranges to have her husband’s casket transported back to New York for a family burial, and she’s taking her 6-year-old daughter Julia (Lawston) with her. Ever the protective mother, Kyle tells Julia that everything would be okay and the flight is safe because she helps design part of the jumbo jet on which they’d flight across the Atlantic. See, she knows everything about this airplane!

Exhausted and having taking some sleeping pills, Kyle awakes three hours into the flight to find Julia missing. She alerts the flight crew and captain about her missing daughter. Eventually the captain and his crew suspect that Kyle is deranged and has made up the story about Julia. No one on the plane has seen the little girl, and according the flight manifest, there is no record of the girl ever existed. Worse, the captain tells Kyle the bad news: the mortuary in Berlin confirms that Julia was killed with her father a week earlier. The only person who seems remotely sympathetic is air marshal Carson (Sarsgaard). Confused and anxious, Kyle starts to question her own sanity as well, until a definitive clue tells her that Julia is real and still on the plane, and someone is playing a very dangerous game…

Foster (A VERY LONG ENGAGEMENT) reprises her mother-in-peril role as she did in PANIC ROOM. She is an extraordinary actress, conveying both vulnerability and strength at the same time. At times she looks so beaten it’s heartbreaking, but when her triumph comes, we can’t help but cheer her on. However, after PANIC ROOM, and now this, we’re ready to see Foster in something different, perhaps a little gentler. Sarsgaard (SKELETON KEY) is solid as Carson. However, his portrayal of the characters -- the squint of an eye, a scrunch of the nose -- somehow betrays the suspense of the story, as we start to suspect something is not quite up-and-up with this guy. He’s too eager to help.

The rest of the cast have very minor roles, considering the cast of hundreds in this film. Bean (THE ISLAND) plays against type and is effective as the responsible and stern captain. Beahan (MATRIX REVOLUTIONS) is rather creepy as flight attendant Stephanie. Irby (ONCE UPON A WEDDING), Cohen (WEST BANK STORY) and Kristensen (SISTERS) serve their respective roles as would-be suspects.

FLIGHTPLAN opens with a confusing flashback that sets the tone of the rest of the film. The opening sequences tell you almost nothing, and information only starts to trickle in as the story unfolds in real time. The script by first-time writer Dowling and Ray (SUSPECT ZERO) is taut with suspense and unanswered questions almost till the end. Clearly they pay homage to Hitchcock in style and storytelling techniques. Perhaps I’m a little too smart for a thriller like this, for I correctly guessed the bad guys midway through the film. But the bad guys’ motives and schemes remain a mystery to me, and I like that. We keep asking the question: Why? At times, the plot seems convoluted, though. A lot of things, if you really stop and think about them, don’t make much sense. For example, how could there be only one air marshal on an international flight with 450 passengers, who sits in coach (and no where near the cockpit in case of a hijacking)? Why didn’t anyone see the little girl, including the ticket or gate agents? The plot is a little too clever, too perfect as if the bad guys have thought of every detail, every minor wrinkle, and every move Kyle may take. Quite impossible.

As long as we can suspend our disbelief, FLIGHTPLAN is a very entertaining, nail-biting thriller. Director Schwentke (TATOO) has crafted a tight, suspenseful, well-paced story, leaving us not too many opportunities to ask silly questions like the ones I asked above. He has a deft skill and the editing is tight as well, leaving us breathless in many sequences. The ending is somewhat cheesy, I think, even for a big Hollywood movie. But I suppose it’s necessary for a crowd pleaser. With a strong female lead and a tight plot with a soft heart (who can’t identify with a mother losing her husband and her child?), everything will work out at the box office as planned.

Just Like Heaven

Stars: Reese Witherspoon, Mark Ruffalo, Donal Logue, Dina Waters, Ben Shenkman, John Heder, Ivana Milicevic, Rosalind Chao
Director: Mark Waters
Writers: Peter Tolan, Leslie Dixon (based on Marc Levy’s novel If Only It Were True)
Distributor: DreamWorks SKG
MPAA Rating: PG-13 for some sexual content, partial nudity
Running time: 95 minutes

Script – 7
Performance – 7
Direction – 8
Cinematography – 7
Music/Sound– 7
Editing – 7
Production – 7

Total Score – 7.1 out of 10

After a string of stinkers in the romantic comedy department this year, Hollywood seems to be out of ideas. At first glance, JUST LIKE HEAVEN is just like yet another paranormal romance (CHANCES ARE, CITY OF ANGELS). Surprisingly, it delivers something a little fresh and a whole lot of fun.

Elizabeth Masterson (Witherspoon) is an ambitious San Francisco doctor with no personal life or friends. “Workaholic” won’t even do her justice. Her nosy sister Abby (Waters) tries very hard to set her up with every eligible bachelor in town. On her way to a blind date, Elizabeth loses control of her car and comes to a head-on collision with a truck…

David Abbott (Ruffalo) is a withdrawn loner who is looking for a nice apartment with a good couch. Eventually, he moves into Elizabeth’s quaint apartment, which is being sublet on a month-to-month basis. At first, everything seems fine, until David starts to encounter Elizabeth’s spirit. First she wants David to move out of “her” apartment, then she wants him to help her figure out who she was and what has happened to her. Then inevitably, they fall for each other, even though any romance between them seems impossible. But as they always say: love finds a way.

Witherspoon (VANITY FAIR) assumes the Meg Ryan-esque role with spunk. Her portrayal of Elizabeth is somewhat two-dimensional in the beginning – we never really get a sense of why a cute, young thing like her would be such a loner. However, as we warm up to her as a spirit, her character eventually comes to life (Ironic, isn’t it? Or is that intentional?) We get to see bits and pieces of Elizabeth behind that ambitious, control-freak exterior. She does a good job not making Elizabeth irritating. Ruffalo (COLLATERAL), in his full-on romantic lead role since 13 GOING ON 30, is fetching and charming in a slacker sort of way. He has a very funny scene, reminiscent of ALL OF ME, and a touching scene in which he recounts a heartbreaking tragedy.

The film works because Witherspoon and Ruffalo have great chemistry together. It helps, too, when the supporting cast is up to task. Logue (AMERICAN SPLENDOR) has a lot of fun as David’s gruff, womanizing psychiatrist friend. Waters (HAUNTED MANSION) plays ditzy well as Elizabeth’s loopy sister, and Heder (NAPOLEON DYNAMITE) is perfect (and typecast) as the dorky guy who can communicate with spirits.

Granted, JUST LIKE HEAVEN is nothing groundbreaking. In many ways, it’s a standard romantic comedy with an interesting paranormal twist. The characters are often two-dimensional and some of the things they do just make me want to roll my eyes and sigh. Certain things simply defy logic. But! It’s a romantic fantasy, so I’m willing to give it some leeway. The script, by Tolan (GUESS WHO) and Dixon (FREAKY FRIDAY) and based on Mark Levy’s novel, is brisk in pace and rich in humor. The ghostly encounters are really funny, thanks to sharp dialogue and clever delivery from the leads. The twist in the middle is unexpected and well-executed (and thanks to smart marketing and writing, nothing is revealed in advance).

Director Waters (MEAN GIRLS) excels in this type of lighthearted fluff. His storytelling is straightforward with not a frame wasted. Structurally, the film is clockwork, with every element in its right place. It’s light and it does the job – putting a smile on our faces. As long as we’re not looking for deeper meaning in life (there are some blatant Hollywood-style messages, of course), for those of us hopeless romantics, this could be a romantic comedy made in heaven.

The Exorcism of Emily Rose

Stars: Laura Linney, Tom Wilkinson, Campbell Scott, Jennifer Carpenter, Colm Feore, Joshua Close
Director: Scott Derrickson
Writers: Paul Harris Boardman, Scott Derrickson (based on a true story)
Distributor: Screen Gems
MPAA Rating: PG-13 for thematic material including frightening sequences, disturbing images
Running time: 114 minutes

Script – 8
Performance – 8
Direction – 7
Cinematography – 8
Music/Sound– 7
Editing – 8
Production – 7

Total Score – 7.6 out of 10

Billed as horror/thriller, THE EXORCISM OF EMILY ROSE is really a courtroom drama at its core. It’s a case of faith, and whether or not you believe in angels and demons, this film asks a lot of good questions: “What exactly do we believe?”

Fresh off from winning a murder case, Erin Bruner (Linney) is an ambitious lawyer, a rising star in her firm, hungry for opportunities and eager to become partner. Her publicity leads her to the case of Emily Rose. The Diocese wants her to defend Father Moore (Wilkinson), a parishioner accused of homicidal negligence, responsible for the death of 19-year-old Emily Rose (Carpenter).

Father Moore is not afraid to go to jail and he will not accept a plea bargain. He just wants the world to hear Emily’s story. Erin, on the other hand, is determined to win, but she has doubts. An agnostic herself, she is skeptical at best about demons and exorcism, and the medical case against Father Moore is very strong. Prosecutor Ethan Thomas (Scott) is himself a God-loving man, and he’s determined to prove Moore’s guilt.

As the trial proceeds, Erin feels a grave presence surrounding her, and heaviness in her conscience. Father Moore warns her of dark forces that are set to attack her. She decides to forge ahead and, despite the Diocese’s objection and the risk of losing her job, allow Father Moore to testify and tell Emily’s horrific story.

Linney (KINSEY) is in top form. She’s beautiful, smart, and genuine. She looks and acts the part and her range of emotions is very impressive. Her characterization is one reason why the film works so well, because we have a worthy heroine to root for. Wilkinson (BATMAN BEGINS) is equally impressive as Father Moore. His quiet resolution, concerns, and vulnerability give the character such depth and weight. Scott (DUMA) is good and effective as Thomas; however, the script and his characterization don’t allow us to know more about him. His character is somewhat two-dimensional. Carpenter (WHITE CHICKS) is fascinating and haunting as Emily Rose. Her angelic innocence is a stark contrast to her traumatized, tortured, possessed self. Her scenes are riveting. The rest of the cast does a fine job as well, even though their roles are minor and somewhat two-dimensional as well.

Writer-director Derrickson (HELLRAISER) has crafted a unique genre of horror/thriller with this film. A courtroom drama at the core, EMILY ROSE has its horrific, intense moments. It also has an overpowering religious theme. While the film doesn’t endorse one view or another, it does leave you thinking about faith. As Erin said: “Are there angels and demons? I don’t know. But there’s the possibility.” In a way, Derrickson has grown up from his deep horror root and given us something more adult and thought-provoking.

The script is generally tight and the dialogue smooth. Based on a true story, the plot has certain authenticity to it, even though the subject matter is improbable. Thus lies the central dilemma – what do we believe? Science and facts, or the supernatural and faith? The story unfolds both in real-time and flashback, and the structure is very effective. Special effects are kept to the minimal, serving the story appropriately without overpowering the film. It would have been nice to see more interaction between Bruner and Thomas, to get a fuller point of view from both sides. As it is, the film is clearly sympathetic of Father Moore’s side of the story. That gives the film a slight bias, perhaps even spiritual and religious in nature. That might not bode well with those who do not subscribe to the Christian faith, or any faith at all.

However, as a movie, EMILY ROSE is a fine production, with strong storytelling, themes and central characters. It has drama, horror and thrills, all done with great balance. Derrickson has stated that this may be the first courtroom horror film ever. Whether it’s true or not, it doesn’t matter. What matters is, this is one of the best horror-dramas of the year. If this movie does well in the box office (I suspect that it would), it may take an act of exorcism to prevent filmmakers from making more in the near future.