daver-4 Reviews

American Women (2000)

The (Un)Luck of the Irish....

[1 March 2000]

...to be portrayed in these quaint comedies as eccentric small town dreamers. It worked in Hear My Song (still the Irish comedy that rules in my book), The Commitments (OK, that was not set in a small town, but you get the point). Waking Ned Devine was pleasant but familiar and slight. And now The Closer You Get, which rehashes all of the "silly Irish people" elements and combines it with an idea straight out of The Full Monty (a British film about middle aged men deciding to do a strip tease to boost their morale). The message of The Full Monty was be youself and be happy with what you have. A point that The Closer You Get hammers into its viewers. I cannot actively dislike any Irish film, because even if you have a trite story and underdeveloped characters, you can always look at the scenery! I guess if we want hard-edged Irish films, we have to continue to seek out Neil Jordan's movies. I was disappointed.

Magnolia (1999)

Truly Bizarre

[5/10 · 30 December 1999]

P.T. Anderson couldn't pull this one off. He was very lucky with his first 2 movies (Hard 8 and Boogie Nights) but this one really gets away from him. It's all over the place, unfocused and unappealing. The opening sequence baffled me--it was clear that he wanted to say that inexplicable things happen all the time, but what exactly did that have to do with the characters? I must've missed the point; call me dense. The characters for the most part were losers. The only character with any sympathetic traits was Stanley. My feeling is, Anderson admired Altman's "Short Cuts" (which is a great movie) so much that he wanted to create a homage. Right down to the "natural disaster" climax. My theory is, the footage at the beginning and the end was added so he wouldn't be labeled as a rip-off artist. What is frightening to me is that critics and audiences may embrace the film, allowing P.T. Anderson to make another puzzling, overlong and somewhat embarrassing movie. Yes, embarrassing. The cast singing along to that some made me CRINGE. Pointless. And not believable. I didn't hate the movie, although it may sound that way. I can't seem to get it out of my mind; for better or worse, it must have challenged me. The acting was good, with the exceptions of Julianne Moore and Jason Robards (hate myself for saying that!) Their characters are so shallow and vulgar that I guess they couldn't really do much with them. As for Tom Cruise, he fares slightly better than he did in Eyes Wide Shut, especially at the beginning. Who else could give self-help speeches like that?

The Green Mile (1999)

All emotions in check

[1 December 1999]

Another 1999 movie that combines several different genres--human drama, suspense, occasional comedy--and takes its viewers on an emotional rollercoaster. You really have to be a machine not to feel something after watching it. This one goes a step further and introduces another genre--sci fi/fantasy--into the plot. After all, it's based on a Stephen King story. The film is being compared to Shawshank Redemption by everyone, but that film was more romantic in its handling of the characters and the events. Do hardened prisoners really get that captivated by an opera? Green Mile is more hard-edged and realistic, especially in the end. The irony is that the film has so many fantastic elements....think of John Travolta in Phenomenon. My only complaint is the ending. Without giving away too much plot, I think the fate of one of main characters could have been handled differently. Tom Hanks and James Cromwell's character could have intervened, since they saw the "miracles" right in front of their eyes. A retrial could have been arranged. Then I guess we would've had a 4 hour movie instead of a 3 hour one. Still an excellent film, and the first movie to generate so many emotions from an unlikely source--a mouse!

The Legend of 1900 (1998)

Worth seeking out

[8/10 · 19 November 1999]

It would be wonderful if this movie eventually finds its way into the multiplexes, the way Life Is Beautiful did last year. But somehow I doubt it....the studio seems to have little hope for it because of its overseas reputation. A shame because it's yet another fine addition to 1999's list of thoughtful, challenging movies. It is inevitably being compared to Titanic, if only because of its setting (ocean liner in the early part of the century). The film has more in common with Fellini than Cameron (viewers who have been disgusted with the film's visuals and sentiments seem to have forgotten why we go to movies in the first place). The scenes are slightly surreal and always fascinating. The delivery of the dialogue is a bit stilted, especially by the actor who played Max, but Tim Roth is a talented actor and makes the most of it (especially during his final, impassioned speech at the end). No surprise that this was made by the director of Cinema Paradiso. Both films are presented primarily in flashbacks, both have a romantic feel, and both deal with an amazing, unexpected friendship. Definitely worth checking out.

The Messenger: The Story of Joan of Arc (1999)

A comedy?

[9 November 1999]

I was wondering this several times while watching the movie. Basically I spent 2 1/2 hours of my life watching this junk. The Joan of Arc story should be told respectfully, without use of silly profanity (did the English really utter the "F" word so many times?), senseless gore and of course the necrophilia sequence. Milla Jovovich acted more like a cheerleader than a Messenger of God. Dustin Hoffman's appearance at the end saves the movie from being an utter travesty (also John Malkovich's sly performance, complete with a slight reference to his current movie Being John Malkovich!) The acting by the others was laughable at best (did I actually hear a character say "whatever?") This is being touted by its studio as the next Braveheart. Mel Gibson has nothing to worry about.

Being John Malkovich (1999)

Everything You've Heard is True

[10/10 · 7 November 1999]

I've been anxious to see this movie since watching the preview and I must say I was not disappointed--in fact it has tied with American Beauty as my favorite film of the year. There are so many layers to this movie, like A.B., that I'll have to see it again. John Malkovich's participation in the movie is the key to why it's so successful. I've always viewed him as a slightly overrated actor. Kind of self-important. It's refreshing that he must see this as well. The other actors are just as charismatic. They must have known that no one has ever done a movie like this before (at least that I've seen in my years). Although the film works on many different levels, the moral is very simple--be happy with who you are. One movie that I could've watched all over again after it was over.

The Blair Witch Project (1999)

Terror in the Unseen

[24 October 1999]

I wish I would've seen this before the hype to its foothold. This is a unique movie, not worthy of blockbuster status, but there you have it---the Internet has surely arrived. Most of the horror comes from what you hear, not what you see. I have to give the movie credit from not drowning us in blood and gore, but this "unseen terror" concept is nothing new if you've seen the original, 1963 version of The Haunting (a far superior, and creepier, movie than this one). The naive, smart ass kids who encounter their worst fears is also borrowed from Texas Chainsaw Massacre, another movie that came to mind while watching this (especially that ending). The actors were pretty good, for once the nonstop usage of the "F" word seemed appropriate (kids scared out of their gourds would probably talk like this). The Marketing team certainly deserves praise for generating such interest in this movie (not to mention the Web Masters). A movie like this would have never broken out into the multiplexes ten years ago. Tune out the hype and you may find yourself entranced by the film, as simple and occasionally frustrating as it is.

The Limey (1999)

Tight story, creative structure

[7 October 1999]

This comes as no surprise seeing how Steven Soderberg's last movie was "Out of Sight," which used similar techniques in its offbeat narrative. Without repeating himself (no frequent freeze frames that populated "Out of Sight" to be found in this one), Soderberg puts his stamp on the film in different, and equally unique (albeit annoying to some, I'm sure) ways. The film is highly entertaining, especially when it zones in on the blind obsession of Wilson. Terrence Stamp doesn't get enough parts in movies (maybe he's very selective). The only other films I can recall that featured him are "Adventures of Priscilla" and "Superman II," and in both he played pure comical (or comic book) roles. His character is edgy, mysterious and often funny. Peter Fonda was not hateful in the film, and he wasn't supposed to be. He basically does his '90s version of "Easy Rider," which is no big surprise (the awful Renee Zellweger film "Love and a 45" featured a bizarre cameo from Fonda, doing the same "stuck in the '60s" thing). The climax was a bit disappointing, considering the buildup (what happened to the long-haired, wisecracking, pool-playing thug?), and was very familiar to those who've seen Soderberg's last film. But an enjoyable, tight character piece nevertheless.

American Beauty (1999)

The Movie of the Century?

[10/10 · 22 September 1999]

American Beauty may well be the last great film of the century, and this is perfectly fitting. The film, on the surface, examines a dysfunctional family in a "perfect" suburban environment. But the film actually wants us to look at ourselves. Things need to change. We need to change. Or we will become "plastic" or "sedated" like Annette Bening and Kevin Spacey's characters. The movie is about the dehumanizing effects of 1) repressing feelings and 2) pretending that everything's "spectacular." The only 'real' characters were the daughter (Thora Birch) and the guy next door with his camera. And they're constantly branded in this film as being "weird" or a "psycho." The movie really impacted me to the point of actually developing a different outlook on life. It's that good. The ending is perfect. The film borrows from other movie sources like "The Ice Storm," "Happiness," "Ordinary People," and even "It's a Wonderful Life" and creates something wholly unique, funny and extraordinary. I doubt I'll see a better film this year.

Outside Providence (1999)

An end-of-the-summer sleeper

[31 August 1999]

This movie will definitely appeal to fans of the Farrelly Bros. other films. Although this movie has something that was missing from There's Something About Mary--poignancy. Hard to believe that it exists in a movie with a character named Drugs, and a hero whose father calls him Dildo.

The Farrelly Brothers' overlooked Kingpin contained a bit of a serious undertone--Woody Harrelson returning to his hometown, for example. Outside Providence contains a bonding sequence between Alec Baldwin and the hero that rivals anything in Good Will Hunting or other "male bonding" films of late. But this film is not depressing...in fact, I predict it will eventually surpass Bruce Willis at the box office. The audience loved it and gave it a standing ovation during the closing credits. Despite its tendency to cross over into "Dazed and Confused" territory, the film manages to be completely original in the end (loved the last scene between Tim and his girlfriend at the campfire).

Twin Falls Idaho (1999)

Unique

[19 August 1999]

This movie manages to be both intriguing and touching. The story of a pair of Siamese twins and a woman who enters their lives sounded like a David Cronnenberg or David Lynch odyssey when I first read the plot description, but the movie is original in the fact that it doesn't exploit the twins. I felt myself really caring for and empathizing with these brothers. The sequences involving their ashamed (ashamed of herself, not of her sons) mother had the audience in tears. Lesley Ann Warren is wonderful in this brief performance. The movie's minor flaw is the fact that it drags on a bit near the end. It should've ended with the "bicycle sequence." There were commercial considerations, I guess (even though this is an independent film), and the epilogue was needed to wrap things up. But up until the final scenes, this is a highly emotional and excellent film. Final grade: B+

Brokedown Palace (1999)

Another summer flop

[13 August 1999]

I knew we were in trouble when, before the movie started, a woman got up to tell the audience about how moving this movie is, especially since her brother was recently arrested for growing marijuana, and slapped with a sentence "unreasonable for a small amount of drugs." This film is a little different seeing how the two girls were innocent.....It has its heart in the right place, but the story is all over the map. Conflicts are introduced but barely resolved by the end (at this point I still don't know what Claire Danes' intentions were--was she lying about not sleeping with that Australian guy? Why should it matter now? After all, both girls are in prison!) This is where the movie falters---the prison scenes are really unbelievable. The girls are seen joking about the food at one point. And of course, Kate Beckinsale's snubbing of Danes after she learns the "truth" about her and the Australian guy. Couldn't these girls see right through him? I guess I missed the point--these are innocent girls, naive in every way (except, once again, Danes' character, who is supposed to be hard-edged and street-smart). Another problem with the movie is the introduction of the family members and friends. Beckinsale's father is an idiot. Period. Predictably accusing Danes of getting his daughter in jail. Danes' father (an unexpected cameo from John Doe of X) is a blue collar man who mentions diabetes at one point--this plot thread is left dangling. Bottom line--the film should have concentrated on the prison scenes, making them a bit more gut-wrenching (I guess they were aiming for the MTV crowd and the PG-13 rating), leave out the parents (and friends), and show more of Bill Pullman and his "firm" working on the case. Assets of the film: Pullman's performance, Beckingsale, a few effective moments from Danes, and the soundtrack.

Arlington Road (1999)

An irresponsible thriller

[17 June 1999]

I say "irresponsible" because the Oklahoma City bombing, despite the fact that it happened four years ago, is still fresh in our memories. Without giving away the "surprise" ending, I can say that this is the first thriller I've seen about terrorists that sympathizes, more or less, with the terrorists. Not a wise thing in this era of building bombings within our borders, the Unabomber, not to mention Littleton. I've read that the studio pushed back the release date of this movie because of the Colorado shootings, although the film mirrors the events in OK (there is a subplot involving a terrorist bombing in the midwest, but they change the city to St. Louis--how thoughtful!) The movie infuriated me. Normally I enjoy "twisted" endings (No Way Out being the most famous one in the last ten or 15 years). It takes an intriguing notion (what if YOUR friendly next door neighbor was the Unabomber?) and milks the suspense every so often. There are some eerie flashback sequences (Jeff Bridges' character's wife, an FBI Agent, was killed in the line of duty while trying to diffuse terrorist activity in West VA). But slowly, Bridges begins to overact (not a wise move for Bridges--he's better playing subdued characters), and the villains of the movie (played by Tim Robbins and Joan Cusack) become less threatening and more like clowns. Robbins begins to overact as well--maybe he thought the film was a black comedy that allowed for his odd antics. Like Bridges, he's a lot more effective when playing quiet, detached guys (Jacob's Ladder, Shawshank Redemption). He's also good at playing jerks (The Player, Short Cuts). But he's not so good when he goes over the top (remember Cadillac Man?) And this film makes the mistake of letting him go over the top, and he's laughable. And then there's that ending. This is one case where a more "conventional" ending would've been accepted. I usually love unconventional endings, like in John Sayles' recent "Limbo." But I feel, in the wake of the events in the news, the ending of this film will anger many. On the plus side, the cinematography was unusual (the opening shot is a grabber). Cusack is fine when she's not resorting to silly villain ways. And Hope Davis is wonderful in a small, throwaway role as Bridges' girlfriend. I normally don't attack movies for their morals (I loved Happiness), so maybe I just wasn't in the right mood for this film. I just got an uneasy feeling while watching this movie. I kept straining forward, waiting for Bridges to stop the terrorists. And everything fell over like a house of cards. I guess the movie affected me enough to get angry; maybe it's a success after all. But I don't think I'll be jumping in line to see it again.

Instinct (1999)

Don't believe the ads

[26 May 1999]

The ads for this movie make it look like another "Silence of the Lambs"--"enter the mind of a killer....." Those expecting a thriller along the lines of Jonathan Demme's hit will be disappointed. While this movie contains some unusually involving segments (most involving the gorillas), it mimics too many other movies to be recommended. If the director would have created an original piece (the plot had great potential), instead of borrowing scenes from "One Flew Over the Cuckoo's Nest," "Shawshank Redemption," "Silence of the Lambs," and not to mention "Gorillas in the Mist," he would have had something. The performances are fine, but I thought Cuba Gooding Jr. was a little miscast as Hopkins' doctor (a little too young for the part, in my opinion). But very restrained, compared to his parts in Jerry Maguire and As Good as it Gets. The final product gets an average rating, especially since that finale was so contrived and silly that it made me squirm in my seat.

The Waterboy (1998)

Too familiar for me

[23 May 1999]

This movie cries out "Farrelly Bros, Farrelly Bros., Farrelly Bros." And not There's Something About Mary as much as Kingpin. Even flashback sequences, with '70s hair styles for Henry Winkler and Jerry Reed, a'la Bill Murray in Kingpin! Adam Sandler is the best thing about this (Kathy Bates overdoes it, in my opinion--"fussball" and the devil references get old after 2 times!) He was appealing in Wedding Singer and is appealing here as he spoofs Forrest Gump.....glad I didn't see this at the theater.....for those who loved this movie, check out Kingpin if you haven't (I was the only one in the theater when I saw that movie originally).......that movie bombed, Waterboy broke $100 million----no one can predict if these flicks succeed with audiences. Let's hope Sander does something more along the lines of Wedding Singer for his next role.

Good Will Hunting (1997)

Ordinary People, anyone?

[4/10 · 2 May 1999]

This movie is overrated, predictable and manipulative. There is some quirkiness in the dialogue and Matt Damon does a great job (giving credit to where credit is due), but I can't believe how some audiences and critics view this movie as "revolutionary." First off, the relationship between Damon and Robin Williams echoes, right up to the "it's not your fault" climax, Timothy Hutton and Judd Hirsch in Ordinary People. The people in Will Hunting's life who attempt to get through to him--Ben Affleck, Williams, Minnie Driver, etc--was also liberally borrowed from Robert Redford's classic. As for Williams, the fact he won an Oscar for what is basically a replay of his "Dead Poet's Society" role is baffling to me. I'd like to think that Oscar rewarded him for his overlooked dramatic performances in World According to Garp, Moscow on the Hudson, Awakenings and The Fisher King--his performances in all of those films blew his "GWH" Oscar-winning performance away. Much of this movie is paint-by-numbers (especially the climax). There were some deeper aspects to Will's life that Damon conveyed with his fine acting, yet they were never explored. Bottom line: If the movie had not been described as being "brilliant" and "groundbreaking," my expectations would have been lower. Put this with "Rain Man"and "Terms of Endearment" as one of the most overrated films of the last 20 years. Give me overlooked, unpredictable character dramas like "Dominick and Eugene" and "Birdy" over this one.

Rushmore (1998)

A winner

[21 February 1999]

I finally found a reason to venture to the multiplex, in this winter of never-ending teenaged movies and costume dramas. And it was worth the trip! This is one of the best movies I've seen this year. Bill Murray is a revelation. He didn't get the Oscar nomination everyone was predicting, but never mind--he's understated and brilliant. I'm beginning to prefer him in these supporting roles (see "Ed Wood" and "Wild Things") as opposed to his starring flops, like "The Man who Knew Too Little." Jason Schwarztman turns in the second best child performance of the year (after Kieran Culkin in "The Mighty"). His character is not the most sympathetic one--he's 15, brighter than most kids despite his failing grades, and more ambitious than any teen character I've seen on screen. I think there are too many people over-analyzing this movie--sure, Max does some illegal things here and there, but to dwell on those consequences would take away from the focus of the movie, which is learning to break away from an unhealthy relationship. Max and Bill Murray's character both love the teacher, but neither can really get close to her (Murray does, at least physically, mainly due to his age and coincidence). The love triangle that occurs is one of the most original ones I've seen - and all three characters become stronger in the end (although Murray's is a little more ambiguous). Now I'm over-analyzing this movie. I think it's a great, offbeat comedy, not for all tastes, but on a plain with a good Jim Jaramusch or Hal Hartley film. And a big improvement over "Bottle Rocket," in my opinion.

The Unbelievable Truth (1989)

Are you a priest or something?

[30 January 1999]

This is a great movie! When I went to see it in 1990, I had no idea what it was about. I had a pass for a free screening. What luck that was--I have not been the same since. I love deadpan comedies, and this one is the best I've seen--it paved the way for Welcome to the Dollhouse and Bottle Rocket in 1996, and director Hal Hartley has become a well-known figure in the art house scene (too bad he has never been able to duplicate the success of his first movie). Robert John Burke plays the ex con mechanic, mistaken as a man of the cloth by several characters. Adrienne Shelley (where is she now?) plays the depressed teenager who falls in love with him, despite his mysterious past (did he really kill her best friend's sister?) Shelley appeared in Hartley's second film, Trust, and then made a low budget teen comedy (can't think of the title). Burke went on to replace Peter Weller as RoboCop and star in "Thinner." What a waste of two great talents! This movie has it all--romance, comedy, a quirky soundtrack, George Washington obsession, fun with crescent wrenches, and just a bit of drama. "Listen......bombs." See it!

Still Crazy (1998)

Full Monty meets Spinal Tap

[28 January 1999]

This movie is very entertaining--the characters are engaging and it's nice to see Stephen Rea finally let his hair down and appear in a comedy (he's a great actor, and not just for The Crying Game--check out the HBO movie Citizen X for some of his greatest acting). The antics of the reunited (and it feels so good) Strange Fruit are funny and sometimes poignant (especially the David Bowie wannabe--can't remember his name). If you haven't seen This is Spinal Tap and/or The Commitments (two superior rock-n-roll comedies), then get yourself to a video store NOW. Still Crazy brings back memories of those two movies, which is not a bad thing. The idea of middle aged ex '70s rockers making a comeback also seems lifted from the Full Monty. But I'm not complaining. The movie is just as irresistible as The Full Monty. Question--what real band is Strange Fruit supposed to be poking fun of? My guess is The Sweet, but I'm sure others will think of Mott the Hoople.

Happiness (1998)

A ground-breaker

[10/10 · 28 January 1999]

Happiness is 1998's Pulp Fiction--it's rare when a movie exhilarates me, and the last one that did was Quentin Tarantino's 1994 movie. Unfortunately, the same thing may happen due to this movie's critical success--the door is wide open for inferior envelope-pushing movies (also thanks to There's Something About Mary). So I am preparing myself. Happiness contains material that I have never seen in other movies-for that reason, it is a classic, the best film of the year, in my opinion. We are shocked by the behavior, and most of the time, we're laughing. This is the blackest comedy ever made-- it makes no apologies for what it is. The actors, every one of them, took major career chances by simply appearing in it. The fact that it was nominated for a Golden Globe was very surprising--I can't see Oscar touching this, even for a nomination. Many people hate this film, and with good reason--it touches a nerve. But I have seen so many trashy big budget flicks recently (especially in the last year), and I found every moment of the film refreshing.

Celebrity (1998)

Woody's best in years

[9/10 · 28 January 1999]

This movie is Woody Allen's best film in about 3 years- since Mighty Aphrodite, at least. Obviously too old for the lead, Kenneth Branagh literally steps into his shoes and does such an effective job at playing Woody that he must have watched every Allen movie at least six times. The film is hilarious but deep--like his best films. It explores our obsession with celebrities and the media's obsession with them, and I wonder how much "acting" Leonardo DiCaprio did for this film. But the more I thought about it afterwards, the more I realized how sad the movie is at its core--the word "help" being written in the sky may be what Allen is thinking--is this what we have become? So obsessed with fortune and fame that we literally prostitute ourselves and become someone we aren't (i.e. Judy Davis' character)? A terrific movie.

Can't Hardly Wait (1998)

A surprise

[9 January 1999]

I am 31 years old and saw this on video because someone a few years younger than me was raving about it. I have to say that I was very entertained. Yes, high school kids in the '90s are very different from the way we were in the '80s, but the various social groups--the jocks, the nerds, the prom queens, the male and female misfits--never seem to change. So I could relate. Whoever wrote this movie must have LIVED the part of Preston (or Amanda, if it was a woman who wrote it). Very deep and appealing characters, and the actors did a great job with them (I've heard of Jennifer Love Hewitt but never heard of the guy who played Preston). And the supporting characters were engaging too--even the stereotypical jock had some depth, which only came out when he was drunk, of course. The movie was a surprise--it wasn't lost on me, and I found it refreshing and even better than John Hughes' well-meaning but cliched teen flicks of the '80s.

Hard Boiled (1992)

Amazing, unlike anything I've ever seen

[26 December 1998]

John Woo's masterpiece. Incredible action in the most unexpected of settings--a library, a sailboat, and a hospital. The best action movie of the '90s, bar none.

Joe Versus the Volcano (1990)

Romantic, witty, smart and deep.

[10/10 · 12 December 1998]

The first and best of Tom Hanks and Meg Ryan's films together. On the surface, a romantic screwball comedy about a guy hired to jump into a volcano to save an island tribe, but at the core of this wonderful movie (a 10 in my opinion) is the story of two complicated people who fall in love, while doing some major soul searching. Hanks' character is a sad hypochondriac who becomes happy, charismatic and impulsive AFTER being diagnosed with a terminal disease ("brain cloud"). He becomes involved with three quirky women (all played by Ryan, who uses her three acting styles with the characters--airhead, snobby and adorable) before making "the leap." Never dreary in tone (despite the premise), the movie is a deep, beautiful fairy tale for audiences (young and old) who like to think.