scmovieguy Reviews

Hairspray (2007)

Fantastic!

[9/10 · 26 June 2007]

As a fan of the stage musical, I was worried that the film might not measure up - but they hit this one out of the ballpark! Bright, bouncy and joyously hilarious! A big smile hit my face as soon as it started and I didn't stop grinning until the end of the credits.

I haven't heard a press screening audience applaud after musical numbers since "Chicago" - and they cheered! The huge cast is uniformly terrific. Travolta, Pfeiffer and Walken are a hoot and Nikki Blonsky couldn't be more perfect.

The performances, script, lyrics, sight gags and costumes wage an all-out assault on your funny bone. Even the set dressing gets laughs!

This is the movie musical that Grease, Rent and Dreamgirls should have been.

Bravo!

Star Wars: Episode II - Attack of the Clones (2002)

The Force is back

[12 May 2002]

Everything George Lucas did wrong in "The Phanton Menace," the disappointing prequel to his "Star Wars" trilogy, he does right - brilliantly right - in "Attack of the Clones." This time out, the force is strong in him - in a very big way.

This fifth chapter of the sprawling space saga recounts the coming of age of Annakin Skywalker (the Jedi knight who will become Darth Vader) as the democratic Republic is on the brink of a war which will ultimately transform it into the evil Empire.

Lucas wisely returns to the elements that made the original "Star Wars" such a groundbreaking success: timeless mythological themes; endearing characters; heart-pumping action scenes; and the energetic derring-do of Saturday matinee serials.

I promise not to reveal major plot points, but the story begins when Jedi knight Obi Wan Kenobi (Ewan McGregor, maturing nicely into Alec Guinness) and his protege Annakin (Hayden Christensen) are summoned to protect the regal Padme (Natalie Portman); the former Queen Amidala has taken a Hillary Clinton turn and is now an outspoken senator.

The great success of the first "Star Wars" was its cunning blend of familiar movie genres - sampling not only science fiction serials but gun-slinging westerns and fantasy classics like "The Wizard of Oz."

In "Attack of the Clones," Lucas serves up heaping helpings of film genres including the film noir detective, sci-fi paranoia, political thrillers, and action scenes that recall everything from James Bond to "Jason and the Argonauts" and Robin Hood's merry men battling it out in Sherwood Forest.

Venturing into territory that's totally new to him, Lucas also gives us a classical star-crossed love story between Annakin and Padme (the future parents of Luke and Leia). Christensen and Portman are exceptionally fine actors, giving emotional depth to the two most complex characters in the "Star Wars" canon. (And as screen lovers, they make "Titanic's" Leo DiCaprio and Kate Winslet look positively homely.)

Seeds are sown of plot developments yet to come as the saga takes on a generational and mythological weight that's worthy of the Greeks. A turning point in Annakin's emotional transformation makes for an unforgettable scene of pain, love and fury, the likes of which we've never seen in a "Star Wars" movie.

Lucas also recaptures the blend of humor, satire and adventure that seemed effortless in the early films but was nearly absent in the dry, impersonal "Phantom Menace." Familiar characters and relationships are in full force here; Obi Wan and Annakin have a loving but contentious mentor/pupil thing going on; C3-P0 experiences a hilarious identity crisis; and in two words: Yoda rocks!

Samuel Jackson is on board as Jedi Master Mace Windu; Ian McDiarmid is back as the not-to-be-trusted political bigwig Palpatine; and Christopher Lee debuts as the dark side Jedi Master Count Dooku (at what point can we start to giggle at some of these names?).

Jimmy Smits fills out his Renaissance costume nicely as Senator Bail Organa but doesn't get much to do yet. (Oh wait, that was Princess Leia's last name - I see an adopted daughter in his future...)

The saga also continues its generational theme with the introduction of warrior Jango Fett, and his son Boba (who will grow into the feared bounty hunter of "The Empire Strikes Back").

The film is a magnificent thing to look at. From the glittering urban sprawl of Coruscant (think Manhattan to the tenth power) to the red-rock planet Geonosis, and the romantically sumptuous paradise of Naboo, the film's digital artisans break new ground in eye-popping production design.

In it's strong storytelling, depth of character and vigorous action scenes, "Attack of the Clones" is a mature piece of filmmaking, created by a man who has returned to his creative roots. No more Jar Jar Binks jokes, George. It's good to have you back.

The Majestic (2001)

It's ok to love the movies - and "The Majestic"

[30 December 2001]

"The Majestic" borrows Capra-esque themes (ordinary Joe gains strength from small-town goodness to battle a corrupt government) as it celebrates the magic of movies themselves.

Writer Michael Sloane's inventive McCarthy era fable (of an amnesiac screenwriter who's mistaken for the long lost war hero son of a small town) touches on meaningful themes of identity, loss, the high cost of war and the principles on which this country was founded.

The central theme of the film, as Carrey's character helps the town rebuild its dilapidated movie house, is that the movies are our temple of wonder and refuge from the harsh realities of life.

It's a movie that's unashamedly in love with the movies, and with human themes that have fallen out of favor in our cynical times.

Frank Darabont's large cast avoids the cutesie-pie acting style that makes Capra's films seem dated today. Carrey's cynical wink to the audience is replaced here by open-hearted earnestness; Martin Landau is wonderful as the lost hero's father; and Lori Holden combines dream girl perfection with honest acting skill as the girl he left behind.

The Lord of the Rings: The Fellowship of the Ring (2001)

One film to rule them all

[18 December 2001]

The most powerful and elegant fantasy film of the year is Peter Jackson's "The Lord of the Rings: The Fellowship of the Ring," the first of three films to dramatize J.R.R. Tolkien's beloved trilogy.

From the film's compelling, visually stunning prologue, it's clear that we're in the hands of two master storytellers: Tolkien and Jackson.

Jackson's film is a triumph of casting. It's nearly impossible to imagine a finer choice for the role of Frodo Baggins than Elijah Wood. As the young hobbit who answers a life-changing call to adventure, Wood combines wide-eyed innocence and a deep sense of wonder with innate intelligence and warm humor.

Ian McKellen is superb as Gandalf the wizard, clearly relishing the role that is great grandfather to "Star Wars'" Obi Wan Kenobi and "Harry Potter's" Dumbledore. This wizard is no mere guardian mentor, but a heroic participant in the adventure with fears and demons of his own.

The spirit of Tolkien runs deep in the performances of Ian Holm as Bilbo Baggins, Viggo Mortensen as the tarnished hero Aragorn and Cate Blanchett who brings a stunning intensity to the elf queen Galadriel.

The characters' inner lives are as rich as the film's spectacular production design and Jackson's direction moves effortlessly from quiet moments of intimacy to scenes of operatic grandeur and heart-stopping adventure.

An approaching flock of black birds hasn't been this ominous since Alfred Hitchcock was around, and the heroes' escape from an underground cave is like nothing this film fan has ever seen.

"The Lord of the Rings: The Fellowship of the Ring" is quite possibly the best fantasy adventure film ever made. At the end of its two and a half hours, I sat stunned, dazed and hungry for more.

Life as a House (2001)

Home improvement

[15 November 2001]

"Life as a House" is an imperfect movie with noble aspirations about imperfect people with noble aspirations.

In his best role in years, Kevin Kline plays George Monroe, a middle-aged man whose life is in ruins. Estranged from his remarried ex-wife (Kristin Scott Thomas) and his miserably rebellious teenage son (Hayden Christensen), he lives in the ramshackle house he inherited from his father.

On the day he's fired from his job, George collapses and wakes up in a hospital. The news is not good. Faced with a very brief future, he decides to tear down the shack he's been living in and rebuild it by hand.

George sees this major feat of home improvement as a last chance to bond with his angry, pot-smoking, glue-sniffing son, but the integrity of his task ultimately attracts and transforms everyone in George's life.

Although it's the type of movie that Frank Capra might've directed Jimmy Stewart in sixty years ago, there's a raw frankness to the film that both balances and battles with its misty-eyed nobility.

Screenwriter Mark Andrus ("As Good as it Gets") navigates the rocky waters between quirky comedy and heart-tugging sentimentality with mixed results. For every scene of emotional truth there's a moment of "only-in-the-movies" contrivance, and major self-revelations tend to just drop out of the characters' mouths.

Director/Producer Irwin Winkler ("The Net") strikes a good balance between comedy and drama, and is especially adept at drawing strong performances from his actors.

Although "Life as a House" lacks the cinematic finesse of "American Beauty" (which it occasionally resembles), it's hard not to love - or at least admire - the film for what it does accomplish.

The film is boldly unashamed of its central metaphor of the house that (like its inhabitants' relationships) must be torn down to be rebuilt again. And let's face it, how many Hollywood film-makers even know what a metaphor is?

While characters in most Hollywood movies are either aggressively lovable or just plain bad, there's a complex imperfection to each of this film's central characters. George is an endearing misfit who let his own childhood scars prevent him from being the husband and father he could've been.

Kline's Oscar-caliber performance is filled with multi-layered nuance. He and Scott Thomas beautifully portray the estranged couple who are all too aware of the mistakes they've made along with way.

As their troubled son Sam, Christensen is simply terrific, showing the pain and vulnerability beneath his teenage rage. The evolution of this father-son relationship is the heart of the film and the two actors never hit a false note.

Christensen will soon be immortalized, as movie star and action figure, playing Annakin Skywalker - the boy who will be Vader - in "Star Wars II: The Attack of the Clones." The starwars.com website has omitted "Life as a House" (in which his character sells his body for drugs) from the actor's resume.

Despite its flaws, including more subplots and conflicts than it can effectively resolve, the film is both worthy and worth seeing for its incisive depiction of imperfect but very human relationships.

Lisa Picard Is Famous (2000)

Almost famous

[15 November 2001]

Historically, Hollywood has done a lousy job of capturing what really goes on behind the scenes in its own industry. The "dream factory" that thrives on creating glossy visions of idealized lives has never been very good at examining its own underbelly.

The sole exception to this rule is Robert Altman's "The Player," a film that satirically nails Hollywood's shallow desperation with pitch-perfect accuracy. "The Player" finally has its bookend companion piece in "Lisa Picard is Famous," a "mockumentary" about an aspiring actress.

It comes as no surprise that this very funny and painfully true-to-life film was created by actors. Produced by actress Mira Sorvino ("Mighty Aphrodite") and directed by actor/director Griffin Dunne ("After Hours"), the movie was written by and stars unknown actors Lisa Kirk and Nat DeWolf.

Kirk plays Lisa Picard, a fiercely determined New York actress who, after a series of minor parts and commercials, is poised for her major breakthrough "in a small but pivotal role" in a tv movie starring Melissa Gilbert.

DeWolf plays Lisa's gay friend and fellow actor Tate Kelly whose major credit is an ill-fated gig as an extra on "Days of Our Lives." He's set to debut in his autobiographical Off Off Off Broadway one man show that "deals with issues of gay bashing and homophobia" (although he's had no first hand experience with either).

The gloriously deadpan film is told through the eyes and lens of a documentary film maker (played by Dunne) who's trying to capture the esssence of fame by following Lisa. Tossing her beret into the air a la Mary Richards, she appears to be on the brink of stardom.

Although it borrows the mockumentary style of "This is Spinal Tap" and "Waiting for Guffman," the film ultimately goes beyond mere satire. By scrutinizing the lives of these desperately hungry actors (in squirmingly painful detail), it sheds much more meaningful light on the subject of fame than Woody Allen's "Celebrity," which focused on the lives of the shallow and famous.

While Hollywood typically depicts actresses as vain divas (see Catherine Zeta Jones in "America's Sweethearts"), Kirk's performance beautifully captures more fundamental elements of an actor's pathology including a self-absorption that runs so deep that she doesn't even know it's there.

She experiences a callback audition for an Advil commercial as a desperate matter of life and death. In analyzing her character's motivation in the Japanese horror flick "A Nymphoid Barbarian in Dinosaur Hell," she's careful not to give away the film's ending, "in case it's ever released."

The underlying joke of "Lisa Picard is Famous" is that by chronicling the unknown actress' every move, the documentary itself elevates her to a kind of unwarranted fame, while plaguing her daily life with fame's intrusiveness.

Contributing additional irony, humor and depth are sly interviews with the likes of Carrie Fisher and Buck Henry. A handful of cameo performances aid in the illusion of documentary reality, including Sandra Bullock, Charlie Sheen, Penelope Ann Miller and Spike Lee.

While some of the gags push the limits of deadpan reality (like Lisa's erotic Wheat Chex commercial), most of the film's humor is dead on. Tate's hilariously banal gay monologue is sure to strike a chord with those who've seen one too many self-revelatory one man shows.

Harry Potter and the Sorcerer's Stone (2001)

Pure cinematic magic

[12 November 2001]

To millions of children of all ages, November 16 has been more eagerly anticipated than Christmas, as the long-awaited film version of J. K. Rowling's beloved novel "Harry Potter and the Sorceror's Stone" hits the screen.

Each of Rowling's four Harry Potter books have been critically acclaimed worldwide best-sellers, turning a generation of video-game playing children into avid readers.

In translating Rowling's world of wizards and magic to the screen, the film makers claimed to be intensely aware of the fans' high expectations and had sworn to be faithful to the book.

"Harry Potter and the Sorceror's Stone" is indeed the most loyal film adaptation of a book that this fan has ever seen.

It's the story of an orphaned boy who discovers on his eleventh birthday that his parents were wizards and that he is in fact a famous and powerful wizard himself.

Released from the clutches of his desperately ordinary (and non-magical) Uncle Vernon and Aunt Petunia - and their deliciously obnoxious son Dudley - Harry takes his place in the wizarding world as a first year student at the venerated Hogwarts School of Witchcraft and Wizardry.

A great deal of "Harry Potter and the Sorceror's Stone" is an introduction to this fantastic and dangerous world and its richly drawn characters. There's not only a lot of plot to cover in this film, but an entire world to create.

At two and a half hours long (hit the restroom before it starts), the film includes the book's most memorable scenes, bringing many of them to life with pure cinematic wizardry.

The Quidditch match (a soccer/hockey/rugby thing played on broomsticks) is much more exciting on the screen than on the page, as is the bathroom battle with an enormous mountain troll and the larger-than-life game of wizard's chess.

The frightening aspects of the book are in full force in the film, and its PG rating (for some scary moments) should be taken seriously.

Screenwriter Steven Kloves ("Wonder Boys") has done a fine job of streamlining Rowling's tale while maintaining its spirit. Director Chris Columbus ("Home Alone") makes good on his promise to be faithful to the book. But at times the film is a bit too reverent; you want the actors to cut loose and have a bit more fun.

Columbus clearly understands that fantasy works best when it's played most real. Across the board, his fine ensemble of actors are so perfectly cast that they appear to have literally stepped out of Rowling's book.

In the title role, Daniel Radcliffe pulls off the very difficult task of playing an introverted hero who spends most of the movie reacting to the amazing sights and events around him. He beautifully captures the deep soul and untapped potential of Harry Potter. And when this kid smiles the screen lights up.

Rupert Grint is delightful as Harry's sardonic buddy Ron Weasley and Emma Watson nearly steals the film as their overachieving friend Hermione Granger. Three cheers to the film makers for giving three unknown child actors the top billing they deserve.

The strong cast of veteran actors includes Richard Harris as the wise Headmaster Dumbledore and Robbie Coltrane as the lovable giant Hagrid. Alan Rickman is wonderfully villainous as Professor Snape and Zoe Wanamaker has just the right touch of girls gym teacher as flying instructor Madame Hooch.

As the strict but just Professor McGonagall, Oscar winner Maggie Smith seems born to play the role - and is ready for another Oscar.

John Cleese (as Nearly Headless Nick) and Julie Walters (as Mrs. Weasley) have all-too-brief cameo roles, but if the next film "Harry Potter and the Chamber of Secrets" remains true to the book, we'll be seeing more of them.

In addition to being highly engaging, the film is a marvelous thing to look at. From the bustling wizard street Diagon Alley to the magnificently gothic Hogwarts School to the dark and misty Forbidden Forest, the film breaks new ground in imaginative production design.

To paraphrase the film's tagline, let the magic (and box office records) begin.