Alexis_Ray Reviews

Gladiator (2000)

The General who became a Slave. The Slave who became a Gladiator. The Gladiator who Defied an Empire.

[10/10 · 16 November 2003]

At its barest bones, Gladiator is the tale of a wronged man seeking revenge. That plot framework will be familiar to most, but Gladiator combats its cliched roots well, offering dizzying action, political intrigue, and powerful visuals.

Perhaps the most stunning thing on display in this film is its all-around superb acting. Russell Crowe's turn here as Maximus earned him an Academy Award that solidified his stardom. Joaquin Phoenix delivers a remarkable performance as the complex and disturbed Commodus. And the late Richard Harris is notable as the great, aging, philosophical Emperor Marcus Aurelius. Connie Nielsen, Oliver Reed (here is his last performance) and just about everyone else are also outstanding.

The title, `Gladiator,' brings to mind bloody arena contests, and the battle scenes don't disappoint - they are well-choreographed and filmed with creativity and intensity. (The graphic portrayals may be disturbing to some. If you don't like films that show blood and gore, don't see this one).

The Academy Award-winning special effects that resurrect ancient Rome and restore the Coliseum to its former greatness are triumphs, and the Academy Award-nominated score, courtesy of Hans Zimmer, is riveting.

Some of the film is historically accurate, but most of it isn't - expect to be entertained, not informed. Plus, there are a few distracting goofs - such as the clearly breathing corpse in the foreground of several scenes, and another presumably dead man who blinks when a woman lowers her hand to close his eyes.

But these few blunders pale in comparison with Gladiator's many strengths. Definitely worth watching if you enjoy a good dramatic/action film that is also worthy of being called an epic. Gladiator is an astounding experience.

10/10

Spirit: Stallion of the Cimarron (2002)

Good, but not great, family film

[6/10 · 16 November 2003]

"Spirit: Stallion of the Cimarron" follows from birth to adulthood the story of an untamed mustang who is determined to stay wild and free, no matter what people expect of him.

"Spirit" is gorgeous to look at, and those who love traditional cell animation may enjoy it solely for its artistry. The songs, performed by Bryan Adams, are passable but nothing spectacular.

What sets this film markedly apart from other animated films featuring animals is that none of the animals here talk (though the mustang's thoughts are relayed in a voice-over by Matt Damon). Moving from anthropomorphism toward realism may be a laudable goal, but if so it's one NOT realized to perfection in "Spirit"; the film loses some of its charm to its characters' silence. Also, the pace lags in several places.

This is not to discourage you from seeing the film, though, if you're of a mind. "Spirit" is positive, family-friendly entertainment with an inspirational message, and it is likely to please horse-loving kids (though very young children may be bothered by some unkind treatment the horse endures). The film has its shining moments and you could spend a worse 83 minutes. It's just a bit disappointing to think that with an enhanced score, tighter pacing, and more vivid characterizations, "Spirit" might have reached the heights it aspired to.

6/10

The Bounty (1984)

This seafaring flick aims to take on the high seas, but never quite sets sail

[16 November 2003]

This 1984 version of Mutiny on the Bounty has an impressive cast featuring Mel Gibson, Anthony Hopkins, Laurence Olivier, Daniel Day-Lewis, Liam Neeson and others. Given that, you might expect it to be a fabulous film. Unfortunately, it falls short of that distinction.

It's difficult to pinpoint why this is. Partly it may be the frequent use of unbridled screaming to build and sustain tension, when at times a restrained approach using chill, taut tones would have served better. Or maybe it's the fact that while we are allowed glimpses into the characters' souls, we never know them quite as fully as we'd like to.

The way the director chose to shoot and generally handle the ending leaves you thinking, `Is that it?!' Not very satisfying.

On the positive side, the film is colorful and pleasant to look at, and there are some fine dramatic moments, as well as a bit of comic relief. There's also enough spraying, splashing and clashing action on the ship during the storms scenes to get your attention.

The Bounty could have been better, but is still worth seeing if you like a seafaring tale with elements of adventure, suspense and romance mixed in - or else are a fan of one or more of its stellar cast members.

6/10

Gone with the Wind (1939)

Astounding Film - GWTW is the Definition of a Classic!

[10/10 · 15 November 2003]

The setting is a Georgia plantation. The year is 1861, and sixteen-year-old Scarlett O'Hara is infatuated with the blond, drowsy-eyed Ashley Wilkes - the problem is, Ashley plans to marry another woman. Little matter that every other man in the county is courting Scarlett and that a charming scoundrel named Rhett Butler is staring at her with questionable intent - she cares only for Ashley.

Suddenly, the Civil War brakes out, changing the fates and fortunes of all. Scarlett, clever, manipulative, and charming, proves an adept survivor - but what will she have to do to survive? And will she ever learn whom it is that she really loves?

GWTW is one of the most meticulously cast films ever; with the possible exception of Leslie Howard as Ashley (in his forties, rather old to be playing a man half that age), every role was perfectly assigned. After you watch Vivien Leigh you will be unable to imagine anyone else playing Scarlett, and Hattie McDaniel's strong, unforgettable performance as "Mammy" netted her an academy award (the first for an African-American actor).

GWTW's backdrop is the gruesome Civil War, and in the end this film is the story a woman and a civilization (the Old South) going through a war that will not leave either of them unchanged.

The cinematography is beautiful, memorable. Gone With the Wind was shot entirely in gorgeous technicolor; the scene of the fire in Atlanta required the use of all eight technicolor cameras in existence at the time.

The pragmatic may think Gone with the Wind overly dramatic; the restless may find it too long; the action-stimulated, too subtle. None of this, however, detracts from the fact that GWTW retains a lasting appeal as one of the crowning cinematic achievements of the 20th century. Those who see its ending as depressing - tragic, even - perhaps miss the point - which Scarlett O'Hara makes in her very last instant with us, tear-stained eyes uplifted in a sudden, curious burst of hope beneath all the turmoil; that .. . "After all, tomorrow is another day." 10/10