During the course of the half-dozen years it has taken Doug Atchison's "Akeelah and the Bee" to go from script to screen, that old schoolhouse standby known as the spelling bee suddenly became hot property, informing everything from the documentary "Spellbound" to the novel/film "Bee Season" to the hit Broadway musical "The 25th Annual Putnam County Spelling Bee."
Arriving in that aftermath, Atchison's heartfelt drama about an 11-year-old black girl from South Central L.A. who expertly faces down the multisyllabics at the Scripps National Spelling Bee can't help but feel a bit played out despite its empowering message and nice performances.
Such subject matter would, back in the day, have made for a swell "ABC Afterschool Special", but as a significant moviegoing draw, suffice it to say the future isn't looking exactly pulchritudinous.
Effectively anchoring the picture is Keke Palmer's lovely lead performance as Akeelah Anderson, a bright, highly articulate kid who's a terror in Scrabble but an underachiever in the classroom.
Taken under the wing of the sternly professorial but soft-spoken Dr. Larabee (Laurence Fishburne), Akeelah ascends the spelling competition ladder leading to a hard-earned spot in the big event despite the objections of her hard-working, widowed mother (Angela Bassett), who would seem to have a bee in her bonnet.
Akeelah ultimately earns her seat in the Washington Hyatt Grand Ballroom, but Will She go the distance to become a motivating force for her family, friends and general community at large?
Word.
Adhering closely to the inspirational film playbook, Atchison hits all the essential emotional posts, but even if certain scenes have a weakness for the overly purposeful, this stuff can still click effectively with audiences, especially with an accomplished cast.
While Fishburne and Bassett, who worked together in "What's Love Got to Do With It", bring the required weight to their respective roles, the film does particularly well by the effervescent performances of its juvenile cast. In addition to Palmer's bright work, young JR Villarreal demonstrates some natural comic timing as Javier, an easygoing spelling bee veteran from Woodland Hills who shows her the ropes.
Behind the scenes, M. David Mullen's photography is clean and crisp, while editor Glenn Farr ("The Right Stuff") orchestrates all that spelling quite efficaciously.
Akeelah and the Bee
Lionsgate
A Lionsgate, 2929 Prods. and Starbucks Entertainment presentation ofan Out of the Blue Entertainment and Reactor Films production
in association with Cinema Gypsy Productions Inc.
Credits:
Director-screenwriter: Doug Atchison
Producers: Nancy Hult Ganis, Sid Ganis, Laurence Fishburne, Michael Romersa, Danny Llewelyn
Executive producers: Todd Wagner, Mark Cuban, Marc Butan, Helen Sugland, Michael Burns, Michael Paseornek, Tom Ortenberg
Director of photography: M. David Mullen
Production designer: Warren Alan Young
Editor: Glenn Farr
Costume designer: Sharen Davis
Music: Aaron Zigman
Cast:
Dr. Larabee: Laurence Fishburne
Tanya: Angela Bassett
Akeelah: Keke Palmer
Mr. Welch: Curtis Armstrong
Javier: JR Villarreal
Dylan: Sean Michael Afable
MPAA rating PG
Running time -- 112 minutes...
Arriving in that aftermath, Atchison's heartfelt drama about an 11-year-old black girl from South Central L.A. who expertly faces down the multisyllabics at the Scripps National Spelling Bee can't help but feel a bit played out despite its empowering message and nice performances.
Such subject matter would, back in the day, have made for a swell "ABC Afterschool Special", but as a significant moviegoing draw, suffice it to say the future isn't looking exactly pulchritudinous.
Effectively anchoring the picture is Keke Palmer's lovely lead performance as Akeelah Anderson, a bright, highly articulate kid who's a terror in Scrabble but an underachiever in the classroom.
Taken under the wing of the sternly professorial but soft-spoken Dr. Larabee (Laurence Fishburne), Akeelah ascends the spelling competition ladder leading to a hard-earned spot in the big event despite the objections of her hard-working, widowed mother (Angela Bassett), who would seem to have a bee in her bonnet.
Akeelah ultimately earns her seat in the Washington Hyatt Grand Ballroom, but Will She go the distance to become a motivating force for her family, friends and general community at large?
Word.
Adhering closely to the inspirational film playbook, Atchison hits all the essential emotional posts, but even if certain scenes have a weakness for the overly purposeful, this stuff can still click effectively with audiences, especially with an accomplished cast.
While Fishburne and Bassett, who worked together in "What's Love Got to Do With It", bring the required weight to their respective roles, the film does particularly well by the effervescent performances of its juvenile cast. In addition to Palmer's bright work, young JR Villarreal demonstrates some natural comic timing as Javier, an easygoing spelling bee veteran from Woodland Hills who shows her the ropes.
Behind the scenes, M. David Mullen's photography is clean and crisp, while editor Glenn Farr ("The Right Stuff") orchestrates all that spelling quite efficaciously.
Akeelah and the Bee
Lionsgate
A Lionsgate, 2929 Prods. and Starbucks Entertainment presentation ofan Out of the Blue Entertainment and Reactor Films production
in association with Cinema Gypsy Productions Inc.
Credits:
Director-screenwriter: Doug Atchison
Producers: Nancy Hult Ganis, Sid Ganis, Laurence Fishburne, Michael Romersa, Danny Llewelyn
Executive producers: Todd Wagner, Mark Cuban, Marc Butan, Helen Sugland, Michael Burns, Michael Paseornek, Tom Ortenberg
Director of photography: M. David Mullen
Production designer: Warren Alan Young
Editor: Glenn Farr
Costume designer: Sharen Davis
Music: Aaron Zigman
Cast:
Dr. Larabee: Laurence Fishburne
Tanya: Angela Bassett
Akeelah: Keke Palmer
Mr. Welch: Curtis Armstrong
Javier: JR Villarreal
Dylan: Sean Michael Afable
MPAA rating PG
Running time -- 112 minutes...
- 3/22/2006
- The Hollywood Reporter - Movie News
Berlin International Film Festival
BERLIN -- Writer-director Annette K. Olesen and co-writer Kim Fupz Aakeson say they wanted to make "a Dutch 'feel-bad' movie" with "Forbrydelser" (In Your Hands). They have succeeded. We get gut-wrenching confrontations, chatter about God, faith, guilt and shame and, finally, tragic consequences to bad decisions that reflect a lack of faith in both God and man. Perhaps for their next film, Olesen and Aakeson will return to the quirky, feel-good tragicomedy that marked their "Minor Mishaps", which won over audiences at the Berlinale two years ago.
A women's prison is the site of a meeting between newly graduated theology student Anna (Ann Eleanora Jorgensen), who takes over as prison priest, and Kate the sinner (Trine Dyrholm), said to possess supernatural healing powers. The latter seemingly gets confirmed when Kate helps a fellow prisoner (Sonja Richter) overcome her drug addiction.
Kate develops an attraction to a male guard (Nicolaj Kopernikus), which can only bring trouble to both. Meanwhile, Anna's joy at learning she is pregnant, after years of trying, turns to despair when a doctor informs her and the father (Lars Ranthe) that the baby may suffer from a genetic fault.
Will Anna put her faith in God? In the sinner-healer? Or Will She not take chances and abort her fetus? Much hand-wringing and angry words accompany these ruminations. The movie is overly melodramatic yet alienating as its makers are determined to reach the worse possible outcomes for all their subplots. This also is a Dogme film, lacking music and conventional lighting, which only adds to the motifs of doom and gloom.
BERLIN -- Writer-director Annette K. Olesen and co-writer Kim Fupz Aakeson say they wanted to make "a Dutch 'feel-bad' movie" with "Forbrydelser" (In Your Hands). They have succeeded. We get gut-wrenching confrontations, chatter about God, faith, guilt and shame and, finally, tragic consequences to bad decisions that reflect a lack of faith in both God and man. Perhaps for their next film, Olesen and Aakeson will return to the quirky, feel-good tragicomedy that marked their "Minor Mishaps", which won over audiences at the Berlinale two years ago.
A women's prison is the site of a meeting between newly graduated theology student Anna (Ann Eleanora Jorgensen), who takes over as prison priest, and Kate the sinner (Trine Dyrholm), said to possess supernatural healing powers. The latter seemingly gets confirmed when Kate helps a fellow prisoner (Sonja Richter) overcome her drug addiction.
Kate develops an attraction to a male guard (Nicolaj Kopernikus), which can only bring trouble to both. Meanwhile, Anna's joy at learning she is pregnant, after years of trying, turns to despair when a doctor informs her and the father (Lars Ranthe) that the baby may suffer from a genetic fault.
Will Anna put her faith in God? In the sinner-healer? Or Will She not take chances and abort her fetus? Much hand-wringing and angry words accompany these ruminations. The movie is overly melodramatic yet alienating as its makers are determined to reach the worse possible outcomes for all their subplots. This also is a Dogme film, lacking music and conventional lighting, which only adds to the motifs of doom and gloom.
Berlin International Film Festival
BERLIN -- Writer-director Annette K. Olesen and co-writer Kim Fupz Aakeson say they wanted to make "a Dutch 'feel-bad' movie" with "Forbrydelser" (In Your Hands). They have succeeded. We get gut-wrenching confrontations, chatter about God, faith, guilt and shame and, finally, tragic consequences to bad decisions that reflect a lack of faith in both God and man. Perhaps for their next film, Olesen and Aakeson will return to the quirky, feel-good tragicomedy that marked their "Minor Mishaps", which won over audiences at the Berlinale two years ago.
A women's prison is the site of a meeting between newly graduated theology student Anna (Ann Eleanora Jorgensen), who takes over as prison priest, and Kate the sinner (Trine Dyrholm), said to possess supernatural healing powers. The latter seemingly gets confirmed when Kate helps a fellow prisoner (Sonja Richter) overcome her drug addiction.
Kate develops an attraction to a male guard (Nicolaj Kopernikus), which can only bring trouble to both. Meanwhile, Anna's joy at learning she is pregnant, after years of trying, turns to despair when a doctor informs her and the father (Lars Ranthe) that the baby may suffer from a genetic fault.
Will Anna put her faith in God? In the sinner-healer? Or Will She not take chances and abort her fetus? Much hand-wringing and angry words accompany these ruminations. The movie is overly melodramatic yet alienating as its makers are determined to reach the worse possible outcomes for all their subplots. This also is a Dogme film, lacking music and conventional lighting, which only adds to the motifs of doom and gloom.
BERLIN -- Writer-director Annette K. Olesen and co-writer Kim Fupz Aakeson say they wanted to make "a Dutch 'feel-bad' movie" with "Forbrydelser" (In Your Hands). They have succeeded. We get gut-wrenching confrontations, chatter about God, faith, guilt and shame and, finally, tragic consequences to bad decisions that reflect a lack of faith in both God and man. Perhaps for their next film, Olesen and Aakeson will return to the quirky, feel-good tragicomedy that marked their "Minor Mishaps", which won over audiences at the Berlinale two years ago.
A women's prison is the site of a meeting between newly graduated theology student Anna (Ann Eleanora Jorgensen), who takes over as prison priest, and Kate the sinner (Trine Dyrholm), said to possess supernatural healing powers. The latter seemingly gets confirmed when Kate helps a fellow prisoner (Sonja Richter) overcome her drug addiction.
Kate develops an attraction to a male guard (Nicolaj Kopernikus), which can only bring trouble to both. Meanwhile, Anna's joy at learning she is pregnant, after years of trying, turns to despair when a doctor informs her and the father (Lars Ranthe) that the baby may suffer from a genetic fault.
Will Anna put her faith in God? In the sinner-healer? Or Will She not take chances and abort her fetus? Much hand-wringing and angry words accompany these ruminations. The movie is overly melodramatic yet alienating as its makers are determined to reach the worse possible outcomes for all their subplots. This also is a Dogme film, lacking music and conventional lighting, which only adds to the motifs of doom and gloom.
- 2/10/2004
- The Hollywood Reporter - Movie News
Opens Friday, March 21
There would be nothing wrong with the romantic comedy "View From the Top" if this were 1960 and Sandra Dee and Pat Boone were available to play these roles. But it is 2003, a time when women can aspire to more than being a first-class international airline stewardess. Sorry, make that flight attendant -- the film's time warp does that to you. The film cries out for a satirical edge, some self-awareness that dumb-blonde comedies must be retooled for the modern age. But director Bruno Barreto, who once handled such sophisticated, multilayered comic works as "Dona Flor and Her Two Husbands" and "Gabriela", plays things absolutely straight without the least bit of vibrancy or subtlety in his direction. The result is a flat, superficial comedy that never establishes a tone that would allow the film to take potshots at such eminently hittable targets as flight training schools or airline travel in general.
Already postponed four times from previous release dates, this lackluster Miramax comedy appears headed for a quick theatrical payoff. Thanks to star Gwyneth Paltrow, its primary appeal will be to female adolescents and teens.
Paltrow plays a woman anxious for any escape from her small Nevada town and trailer-park mom. That escape comes in a flight attendant job, initially for a local commuter airline reminiscent of the one immortalized in Bob Newhart's classic routine about the Grace L. Ferguson Airline and Storm Door Co. Here she meets her first mentor, pert attendant Kelly Preston, and first back-stabber, the unprincipled Christina Applegate.
Paltrow and Applegate move on to a training program at prestigious Royalty Airlines. They come under the tutelage of Mike Myers, who attempts to create an entire comic character out of one physical characteristic -- a highly aggressive wall-eye that causes each eye to focus elsewhere. At flight school, Candice Bergen, author of a memoir about her career as a flight attendant and therefore Paltrow's idol, takes over as Paltrow's mentor.
When Paltrow's final exam results prove bafflingly poor, she is assigned a commuter route out of Cleveland. The good news is that Mark Ruffalo, a young man she flirted with before joining Royalty, also winds up in Cleveland, where he goes to law school. They become an item, perhaps fall in love even, but face a dilemma when Paltrow is allowed to retake her final exam: Will She choose a career as an international flight attendant or marry an up-and-coming lawyer?
In its costumes and art direction, which favor overly bright solid colors and occasional pastels, the film acts like a period piece. Even the soundtrack contains few songs under 20 years' vintage. Yet Barreto fails to follow up on the retro look, playing the film's mild comic bits against a modern albeit fake world.
Eric Wald's tepid screenplay lacks conflict at nearly every turn. Applegate turns out to be Paltrow's nemesis, but other than one poorly staged catfight, no one really impedes Paltrow's rise to the top. Her attempt to play an airhead blonde feels strained throughout, while Ruffalo has little to do other than drop into the movie from time to time, looking handsome and eager.
Comic elements throughout are weak, though Myers does at times relieve the movie of its tedium. Cameos or virtual cameos by Rob Lowe, Chad Everett and George Kennedy add little. Technical credits are pro.
VIEW FROM THE TOP
Miramax Films
Brad Grey Pictures/Cohen Pictures
Credits:
Director: Bruno Barreto
Screenwriter: Eric Wald
Producers: Brad Grey, Matthew Baer, Bobby Cohen
Executive producers: Amy Slotnick, Robbie Brenner, Alan C. Blomquist
Director of photography: Affonso Beato
Production designer: Dan Davis
Music: Theodore Shapiro
Costume designer: Mary Zophres
Editors: Christopher Greenbury, Ray Hubley
Cast:
Donna: Gwyneth Paltrow
Christine: Christina Applegate
Ted: Mark Ruffalo
Sally Weston: Candice Bergin
Sherry: Kelly Preston
John: Mike Myers
Steve: Rob Lowe
Running time -- 87 minutes
MPAA rating: PG-13...
There would be nothing wrong with the romantic comedy "View From the Top" if this were 1960 and Sandra Dee and Pat Boone were available to play these roles. But it is 2003, a time when women can aspire to more than being a first-class international airline stewardess. Sorry, make that flight attendant -- the film's time warp does that to you. The film cries out for a satirical edge, some self-awareness that dumb-blonde comedies must be retooled for the modern age. But director Bruno Barreto, who once handled such sophisticated, multilayered comic works as "Dona Flor and Her Two Husbands" and "Gabriela", plays things absolutely straight without the least bit of vibrancy or subtlety in his direction. The result is a flat, superficial comedy that never establishes a tone that would allow the film to take potshots at such eminently hittable targets as flight training schools or airline travel in general.
Already postponed four times from previous release dates, this lackluster Miramax comedy appears headed for a quick theatrical payoff. Thanks to star Gwyneth Paltrow, its primary appeal will be to female adolescents and teens.
Paltrow plays a woman anxious for any escape from her small Nevada town and trailer-park mom. That escape comes in a flight attendant job, initially for a local commuter airline reminiscent of the one immortalized in Bob Newhart's classic routine about the Grace L. Ferguson Airline and Storm Door Co. Here she meets her first mentor, pert attendant Kelly Preston, and first back-stabber, the unprincipled Christina Applegate.
Paltrow and Applegate move on to a training program at prestigious Royalty Airlines. They come under the tutelage of Mike Myers, who attempts to create an entire comic character out of one physical characteristic -- a highly aggressive wall-eye that causes each eye to focus elsewhere. At flight school, Candice Bergen, author of a memoir about her career as a flight attendant and therefore Paltrow's idol, takes over as Paltrow's mentor.
When Paltrow's final exam results prove bafflingly poor, she is assigned a commuter route out of Cleveland. The good news is that Mark Ruffalo, a young man she flirted with before joining Royalty, also winds up in Cleveland, where he goes to law school. They become an item, perhaps fall in love even, but face a dilemma when Paltrow is allowed to retake her final exam: Will She choose a career as an international flight attendant or marry an up-and-coming lawyer?
In its costumes and art direction, which favor overly bright solid colors and occasional pastels, the film acts like a period piece. Even the soundtrack contains few songs under 20 years' vintage. Yet Barreto fails to follow up on the retro look, playing the film's mild comic bits against a modern albeit fake world.
Eric Wald's tepid screenplay lacks conflict at nearly every turn. Applegate turns out to be Paltrow's nemesis, but other than one poorly staged catfight, no one really impedes Paltrow's rise to the top. Her attempt to play an airhead blonde feels strained throughout, while Ruffalo has little to do other than drop into the movie from time to time, looking handsome and eager.
Comic elements throughout are weak, though Myers does at times relieve the movie of its tedium. Cameos or virtual cameos by Rob Lowe, Chad Everett and George Kennedy add little. Technical credits are pro.
VIEW FROM THE TOP
Miramax Films
Brad Grey Pictures/Cohen Pictures
Credits:
Director: Bruno Barreto
Screenwriter: Eric Wald
Producers: Brad Grey, Matthew Baer, Bobby Cohen
Executive producers: Amy Slotnick, Robbie Brenner, Alan C. Blomquist
Director of photography: Affonso Beato
Production designer: Dan Davis
Music: Theodore Shapiro
Costume designer: Mary Zophres
Editors: Christopher Greenbury, Ray Hubley
Cast:
Donna: Gwyneth Paltrow
Christine: Christina Applegate
Ted: Mark Ruffalo
Sally Weston: Candice Bergin
Sherry: Kelly Preston
John: Mike Myers
Steve: Rob Lowe
Running time -- 87 minutes
MPAA rating: PG-13...
- 3/21/2003
- The Hollywood Reporter - Movie News
Maybe there's a curse on movies about witches.
Warner Bros.' "Practical Magic" may conjure up potent boxoffice and join in a post-theatrical coven with mainstream audiences, but it's a disappointing brew of slick commercial moviemaking and old-fashioned romantic fantasy.
Not as enchanting and mysterious as it could be, despite strong performances by leads Sandra Bullock and Nicole Kidman, actor-producer Griffin Dunne's second film as director features multiple generations of peaceful New England witches -- several pairs of sisters -- who all live together in a funky old house on the edge of town.
Based on Alice Hoffman's novel of the same name, "Practical Magic" is a half-serious, half-satirical take on all things witchy, from modest displays of everyday sorcery to full-blown casting of spells to raise the dead or cause love to blossom.
Ill-fated romances going back several centuries mark the line of Owens women, who have also endured the mocking, unfriendly locals but live more or less in peace. It seems that any man who falls in love with an Owens woman is fated to die, usually after fathering two girls.
After their parents' death, from girlhood on, Sally Bullock) and Gillian (Kidman) know of the curse, but that doesn't stop the former from marrying a nice but doomed guy and the latter from becoming a vamp with bad taste in men.
Quieter and trying to join the real world, Sally is still devastated when tragedy strikes and she vows to give up practicing "white" magic. Sally goes so far as to tell her naughty but lovable aunts (Dianne Wiest and Stockard Channing) not to encourage her daughters Evan Rachel Wood, Alexandra Artrip) in the ways of witchery.
Soon enough Gillian, in Arizona, gets in trouble when a wild lover (Goran Visnjic) turns violent. Sally rushes to help, and the two sisters are forced to get rid of him. Unfortunately, the dead guy's ghost haunts them and possesses Gillian, eventually leading to a group exorcism.
Sally also faces a new dilemma when a private investigator (Aidan Quinn) comes looking for Gillian's missing lover. Could he be the perfect mate Sally thought could never exist? Will She ever want to use her power again?
Robin Swicord, Akvia Goldsman and Adam Brooks are credited for the rambling, often fuzzy screenplay that has a few sparkling moments, while Dunne's direction is consistently lackluster. Still, he gets the job done well enough for undemanding viewers, most of whom won't be able to keep their eyes off Bullock and Kidman. As a pair and individually, they may not click in every frame, but on a basic level the movie delivers on its promise of seeing two accomplished actresses strut their stuff.
PRACTICAL MAGIC
Warner Bros.
In asssociation with Village Roadshow Pictures
A Di Novi Pictures production
in association with Fortis Films
Director: Griffin Dunne
Producer: Denise Di Novi
Screenwriters: Robin Swicord, Akvia Goldsman, Adam Brooks
Executive producers: Mary McLaglen, Bruce Berman
Director of photography: Andrew Dunn
Production designer: Robin Standefer
Editor: Elizabeth Kling
Costume designer: Judianna Makovsky
Music: Alan Silvestri
Color/stereo
Cast:
Sally: Sandra Bullock
Gillian: Nicole Kidman
Aunt Jet: Dianne Wiest
Aunt Frances: Stockard Channing
Gary: Aidan Quinn
Jimmy: Goran Visnjic
Kylie: Evan Rachel Wood
Antonia: Alexandra Artrip
Running time -- 103 minutes
MPAA rating: PG-13...
Warner Bros.' "Practical Magic" may conjure up potent boxoffice and join in a post-theatrical coven with mainstream audiences, but it's a disappointing brew of slick commercial moviemaking and old-fashioned romantic fantasy.
Not as enchanting and mysterious as it could be, despite strong performances by leads Sandra Bullock and Nicole Kidman, actor-producer Griffin Dunne's second film as director features multiple generations of peaceful New England witches -- several pairs of sisters -- who all live together in a funky old house on the edge of town.
Based on Alice Hoffman's novel of the same name, "Practical Magic" is a half-serious, half-satirical take on all things witchy, from modest displays of everyday sorcery to full-blown casting of spells to raise the dead or cause love to blossom.
Ill-fated romances going back several centuries mark the line of Owens women, who have also endured the mocking, unfriendly locals but live more or less in peace. It seems that any man who falls in love with an Owens woman is fated to die, usually after fathering two girls.
After their parents' death, from girlhood on, Sally Bullock) and Gillian (Kidman) know of the curse, but that doesn't stop the former from marrying a nice but doomed guy and the latter from becoming a vamp with bad taste in men.
Quieter and trying to join the real world, Sally is still devastated when tragedy strikes and she vows to give up practicing "white" magic. Sally goes so far as to tell her naughty but lovable aunts (Dianne Wiest and Stockard Channing) not to encourage her daughters Evan Rachel Wood, Alexandra Artrip) in the ways of witchery.
Soon enough Gillian, in Arizona, gets in trouble when a wild lover (Goran Visnjic) turns violent. Sally rushes to help, and the two sisters are forced to get rid of him. Unfortunately, the dead guy's ghost haunts them and possesses Gillian, eventually leading to a group exorcism.
Sally also faces a new dilemma when a private investigator (Aidan Quinn) comes looking for Gillian's missing lover. Could he be the perfect mate Sally thought could never exist? Will She ever want to use her power again?
Robin Swicord, Akvia Goldsman and Adam Brooks are credited for the rambling, often fuzzy screenplay that has a few sparkling moments, while Dunne's direction is consistently lackluster. Still, he gets the job done well enough for undemanding viewers, most of whom won't be able to keep their eyes off Bullock and Kidman. As a pair and individually, they may not click in every frame, but on a basic level the movie delivers on its promise of seeing two accomplished actresses strut their stuff.
PRACTICAL MAGIC
Warner Bros.
In asssociation with Village Roadshow Pictures
A Di Novi Pictures production
in association with Fortis Films
Director: Griffin Dunne
Producer: Denise Di Novi
Screenwriters: Robin Swicord, Akvia Goldsman, Adam Brooks
Executive producers: Mary McLaglen, Bruce Berman
Director of photography: Andrew Dunn
Production designer: Robin Standefer
Editor: Elizabeth Kling
Costume designer: Judianna Makovsky
Music: Alan Silvestri
Color/stereo
Cast:
Sally: Sandra Bullock
Gillian: Nicole Kidman
Aunt Jet: Dianne Wiest
Aunt Frances: Stockard Channing
Gary: Aidan Quinn
Jimmy: Goran Visnjic
Kylie: Evan Rachel Wood
Antonia: Alexandra Artrip
Running time -- 103 minutes
MPAA rating: PG-13...
- 10/14/1998
- The Hollywood Reporter - Movie News
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