dishmanl Reviews

The Orphanage (2007)

Amazing, satisfying, sad, NOT TO BE MISSED

[9/10 · 25 January 2008]

Now this is downright rude: Orfanato, El 2007 (The Orphanage) is an outstanding film. Yet, I hesitate to recommend it and that galls me. Hollywood offers what I consider to be uber-violent trash. Anyway you Saw it, even on Friday the 13th, a Hostel is just another Chainsaw Massacre in Texas. Some imported flicks are equally violent and sadly waste good story and/or characters for heaps of blood, guts, gore, etc.

"The Orphanage" is mild by comparison but it presents troubling themes – harm to children and suicide.

Director Juan Antonio Bayona subtly leads, letting viewers observe an old orphanage and some of its inhabitants. Ah: the house, the outdoors and sky are wonderfully black, gray and white. A small item of plot arrives courtesy of an observer. The film moves to modern day where the deliciously Gothic building now belongs to a former occupant, her husband and their adopted little boy. A beautiful abandoned lighthouse peers over its realm from atop a nearby suitably rocky cliff. The surf of this coastal setting crashes menacingly, lapping at the entrance to a cave to be explored. A party honors special needs children similar to those to be given haven in this restored house but the festivities are interrupted by the beginning of a delicious ghost story. From there to the imminently satisfying last scene, the tension mounts, the protagonist suffers a loss and the filmic journey suffers not one misstep. Director Bayona, the photographers and production designers combine classic horror items and throw in a few quirks. Some incidental items are strongly colored amidst all the gray. Ominous skies and sound design immerse in atmosphere. Actress Belin Rueda is Laura, a woman wanting to honor her childhood by helping other children. She is a quiet presence able to convey much with just a gesture, a flash of eye or a mouth movement. The rest of the cast ably supports Sra Rueda. How wonderful it is that the screenplay from Sergio Sanchez receives such professional treatment. Somehow no Hollywood committee, marketer or focus group befoul the flick. We owe Producer and Presenter Guillermo del Toro a debt of gratitude for bringing this Spanish wonder to the states. "The Orphanage" is a sad story of loss and betrayal deliciously presented and offered to anyone willing to brave the premise. This is a first class cinematic horror story.

Michael Clayton (2007)

Intelligent entertainment not to be missed!

[8/10 · 16 October 2007]

Anyone ignoring evolution will be hard pressed to explain the talent of George Clooney. Perhaps they should at least look at the progression of his career. Either way, another film arrives to convince any skeptics that Clooney can pick, support and shine in good projects.

Michael Clayton is the product of screenwriter Tony Gilroy, most recently famous for the Bourne movie adaptations. Gilroy has created a group of compellingly watchable, flawed characters. He added spicy quirks, corporate intrigues, questionable motives and enough tangles to match Gideon's knot. Audiences are challenged without feeling overwhelmed. The story is worth every twist and turn. Gilroy also directed with a very effective, sure, delicate touch. What is more remarkable is that Gilroy has never directed a film - natural talent here.

Producer-director Sidney Pollack acts here as head of Clayton's huge law firm. Tom Wilkinson is the firm's special counsel defending a huge agribusiness conglomerate in a long gestating class action lawsuit, but his sanity is vanishing. The conglomerate is headed by Ken Howard and corporate counsel Tilda Swinton. Add family, coworkers and mix well. Additionally, Tilda Swinton's acting could be a class study in subtlety - this is definitely Oscar territory. Every performance is the top of its game, all led by George Clooney as the law firm's Mr. Fixit.

OK, I'm a nut for well-produced, appropriate soundtracks and James Newton Howard delivers, supporting the film with compelling but never intrusive melodies.

Michael Clayton's settings, photography and editing are nearly flawless.

Michael Clayton answers any studio cynic who insists that only mindless filmed leftovers, sequels and remakes can reach audiences. This film filled half the auditorium at an early Sunday screening in North Texas - another remarkable achievement.

Underdog (2007)

Underdog is honest, silly fun.

[8/10 · 4 August 2007]

Occasionally, a film's trailer gives viewers a realistic preview. Such was the case with "Underdog". Here is a film with humor offered without the condescension and knowing winks delivered by Dreamworks Animation and its ilk. The story is a typical zap-the-hero setup and does not pretend to be otherwise.

The actors (human and animal alike) deliver professional performances. Peter Dinklage is delicious as the requisite mad scientist. James Belushi is surprisingly effective and believable as the dad. Unfortunately, Patrick Warburton has descended from acceptably quirky into shtick. Newcomer Alex Neuberger (in his second feature) gives his part a nice emotional balance and doesn't overplay his sidekick work.

The animal animation is nicely handled and devoid of gimmickry. This part of the movie industry deserves praise for continued development and polish.

Summers have blockbusters created by and viewed by blocks; Underdog reminds audiences that a simple, fun flick can be far more entertaining.

Georgia Rule (2007)

Good film - misleading trailer

[6/10 · 11 May 2007]

Audiences can rebel and demand money back for numerous reasons. Viewers certainly do not like being misled by a trailer.

Georgia Rule is a prime example of an ill-marketed flick. Truth be told, I don't know how anyone could market the film. Is Georgia Rule without merit? Absolutely not! Is it a quirky comedy peopled by foreigners from California mixing with the quirky locals? Yes. Is it a slapstick comedy with clever comebacks? Yes. WHAT'S THE PROBLEM??? Quirky and clever comprise at the most 15 minutes of the film. Here is a serious drama about a family disintegrating because of communication problems and damaging behavior. Slowly the onion peels before the unsuspecting town (and the audience too). Long hidden problems drive squirm-inducing behavior on the part of the three female protagonists. The supporting cast, whether villains or heroes, perform wonders with roles better fleshed out than expected. The photography immerses watchers into small-town Idaho and its natural beauty. The score is unobtrusive - good. Now to the big stuff: · this script by Mark Andrus is another of his studies in deception, distrust, sex and revenge. None of these subjects is softened - the full impact of behaviors is up front and in-your-face but the characters seem real - these are not clichés. · I did not expect such a weighty film from Garry Marshall. He doesn't shy away from the material. He trusts his leads to get the job done. · And they deliver. Felicity Huffman walks a line as deftly as a tightrope walker. Her pain and confusion are very visible without being melodramatic or overwrought. Jane Fonda has a more difficult role - her Georgia barely reveals anything. Her every fiber tenses with control - you can almost hear her jaw clenching as she watches her daughter and granddaughter with disbelief. The surprise for me was Lindsay Lohan. A wise viewer would do well to set aside all the stories about her behavior during the making of this movie: what she delivered was simply amazing. Her character, Rachel, wears her demons on what few clothes surround her body. Miss Lohan's facial expressions veer wildly from vulnerability to defiance to dismay to anger and everything in between. The three ladies who carry Georgia Rule may fight it out come Oscar time. As for the film, I can't recommend it if only because of the subject matter.

Casino Royale (2006)

Wow! This is more like it!

[9/10 · 17 November 2006]

How quickly the seesaw became a long slide. "Dr. No" started the Bond films at a high level, especially for its day (1962). "From Russia with Love" (1963) added class, new sophistication and nastier villains. "Goldfinger" (1964), to me at least, proved to be the pivot point. Sean Connery remained the quintessential James Bond for three more "official" films but the offerings seemed to be coasting. From there until 2006, the Bond franchise offered mediocre to poor sustenance, mired as they were in silly gadgets, poor casting, awkward writing and "connect the dots"-directing.

Now, finally, "Casino Royale" picks up where "Goldfinger" left off and raises the bar again. Daniel Craig is the perfect choice for James Bond. His 007 is unpredictable, complex, brutal and sadistic, even at times, gentle. Mr. Craig, like Connery, is a talented, estimable actor.

The film's action sequences can leave a viewer gasping for air right along with the protagonists. The script goes full throttle then eases up just in time then ramps up again. Even watching the poker players and their supporters has its own excitement. Nothing seems artificial. The sets and locations are imaginative without being obtrusive (wow! there isn't a space ship in sight!). The score isn't up with the best Bond films but that doesn't detract from the movie.

In addition to Daniel Craig, the cast is top-notch, from Dame Judi Dench to Eva Green to Jeffrey Wright to the assorted villains. All are playing at the top of their game.

Now that "Casino Royale" is in the theaters, the producers know what elements can work for the continued success of "James Bond". Let's hope they don't squander a delicious re-start.

Mr. & Mrs. Smith (2005)

What delicious fun!

[9/10 · 13 June 2005]

Angelina Jolie does not surprise as Jane Smith. Her considerable talents, athleticism, intensity and beauty make her the natural choice for the assassin-wife to, er, die for. Brad Pitt does not surprise as John Smith. His considerable talents, athleticism, intensity and beauty make him the natural choice for the assassin-husband to, er, die for. As the film started, I wondered if the script and the director stymie Jolie and Pitt: they didn't. "Mr. and Mrs. Smith" is yummy cinematic entertainment. Professionals are at work here: even a simple Tango is a study in pauses, glances, gestures, knowing looks and catchy dialog. Ah, some might say, the story is preposterous. Realistic films can be very rewarding – "Crash" proves that. "Mr. and Mrs. Smith" is rewarding without reality's constraints.

The film, however does have its flaws: a couple of popular music cues are awkward, if only because the rest are so rewarding. Mrs. Smith's colleagues are professional women and obviously provide a balanced team of intelligence and intuition. Mr. Smith, alas, is stuck with Eddie, offered by Vince Vaughn. Vaughn repeats his nuisance-dullard-twitchy sidekick, a roles better left to "Dodgeball." Vaughn has achieved some popularity and the marketing mavens might have twisted some arms. Luckily, his on screen time fails to do major damage and is merely a nuisance. Go make another Ben Stiller flick, Mr. Vaughn.

Some critics have compared "Mr. and Mrs. Smith" with "War of the Roses." I don't see it: DeVito's "Roses" is nonstop acidic, hateful, unrelenting bile having no entertainment value whatsoever. "Mr. and Mrs. Smith" is worth every fun minute at your local Cineplex.

Cinderella Man (2005)

Is this your kind of film? Go see it. Otherwise.......

[3/10 · 11 June 2005]

People apparently need people on pedestals. The film indicates that depression era people considered James Braddock a hero, an underdog who gave them hope. That's nice. I have no use for sports heroes and I convey unto them no supernatural expectations. I have no use for Depression era movies or stories. Boxing to me is a modern day version barbarism. I do, however, insist that I can overlook all those caveats if the resultant film warrants. "Cinderella Man" fails. Russell Crowe can play a rugged well-meaning person and Renee Zellweger is a sufficiently capable actress. Still, there is a dullness and shallowness to their characters. The lives of real people can fail to be cinematic – perhaps that's the problem: if so, why make the movie at all? Oh, I forgot: people need heroes. Director Ron Howard has all the subtlety of a ballerina in cement overshoes and this film continues that tradition. Unobtrusive camera work is a foreign concept to the man. Brief street scenes suffer equally with the fight scenes. Music? Even Thomas Newton's soundtrack fails: "listen to his "Road to Perdition" instead. As the credits rolled, I considered: my companion enjoyed the film (she is a dedicated Russell Crowe-phile) and the Diet Pepsi was cold and bubbly. It was ultimately the film that lacked fizz.

Crash (I) (2004)

"Crash"? I was "wrecked!"

[9/10 · 8 May 2005]

Ever the haughty intellectual, I was amazed how easily "Crash" played with my emotions. From the opening scene, the screen pounded away with horrors, let me catch my breath and then assaulted me anew. I almost missed seeing "Crash" after being irked and disappointed by the scenery-chewing Sean Penn in "Mystic River." I foolishly feared "Crash" would suffer from similar Oscar greed. Somehow I gambled and won. "Crash" combines gut-wrenching writing, crisp editing and ensemble acting in a film of grit and dirt not meant for the faint hearted. Here are stereotypes amped up and thrown together as only a bit city melting pot can. While some plots intersect too conveniently, their outcomes reward anyway.

This Los Angeles has no heroes, no gallant person charging up on a trusty steed to save the day. Here are flawed people acting foolishly and either escaping or paying. I loved every performance in this film, from familiar stars, familiar character actors and from fresh new people. I hope someone has the brains to thank and reward Don Cheadle for his contributions in this film, not just for his performance but for being the film's producer. His work continues to represent a gold standard for today's Hollywood.

Assault on Precinct 13 (2005)

A welcome revisit

[8/10 · 19 January 2005]

John Carpenter made me a fan with the one-two punch of "Assault on Precinct 13" and "Halloween". Assault is my admitted favorite, a tribute to what good acting and directing can accomplish while working within a miniscule budget. Imagine my concern with the notion of a new version. Now imagine my delight and relief: I've seen the remake and I'm pleased. The most significant difference is that the new "Assault" features more established stars (wow, what a roster!). The director and editor avoided the modern pitfall (listen up, Stephen Sommers) of allowing trick photography and outlandish special effects to overwhelm the material. Ethan Hawke and Laurence Fishburne thrust and parry nicely like two gladiators sizing up the competition. Gabriel Byrne, John Leguizamo and Brian Dennehy contribute nicely rounded characters. Other cast members are less known to me (perhaps better known to the younger audiences), but all do the material proud. The modified screenplay, the set designs and camera work squeeze the audience into an appropriately claustrophobic situation and space. Thanks to all involved for doing a professional and entertaining job.

White Noise (I) (2005)

Old Eyebrows is back!

[8/10 · 7 January 2005]

"White Noise" would be White Whisper without Michael Keaton. This new flick reminded me of how much I missed the guy. He and Tim Burton made "Batman" work. A quick change in the mouth, an upshot of eyebrow and Keaton can breathe life into a dull script. Hm - that is exactly what Keaton does here. The screenplay is nothing to write home about, even if you are the author; there are occasional fresh takes on psychic phenomena. Director Geoffrey Sax adds a few nice touches, at least when he stops circling the scene's characters as if the camera were a tailor. DIRECTORS OF TODAY: KNOCK IT OFF! MOVING A CAMERA DOES NOT CONNOTE ACTION IN A FILM. Deborah Kara Unger won my heart with the one-two of "The Game" and especially "Luminous Motion." Here, Deborah ably assists Keaton in spite of taking on a poorly-written role.

White Noise: I could not recommend the film were it not for Ms. Unger and Mr. Keaton. If that is conditional praise, so be it.

Mango Souffle (2002)

What a wonderful surprise.

[9/10 · 30 December 2004]

Netflix listed this video and I had to try it. I absolutely loved it!

The first part of the film worried me a bit as it retraces tired steps from American flicks like "Boys in the Band." A party begins with a cast from "stereotypes 'R us." Luckily the film quickly shifts to higher gears as painful truths collide among family and friends. I don't want to tell any additional details: I hope that potential viewers give this film a well-deserved chance. Perhaps this film isn't a rarity in India – I'm clueless on this point. Yet, an Indian film dealing with both gay men and closeted men haunted by others' expectations must represent some risk-taking on the part of the cast, crew and production people. I hope this one meets with sufficient success as to leave the closet open for more of its kind.

Darkness (2002)

Better to see Darkness than Freddie, Jason, Michael, etc.

[8/10 · 25 December 2004]

Two weeks ago, the Darkness trailer appeared, showcasing Anna Pacquin: I had no idea that Lena Olin and Giancarlo Giannini were in this film! What junior-junior marketing staffer got the assignment to promote Darkeness??? Oh, it must be an X-Men fan. While foreign audiences have enjoyed Darkenss for two years, the U. S. studios and distributors continued to give us Freddie, Michael Myers, Jason and Zombies. Superior U. S. horror films of late have been remakes of foreign horror movies. Well, better late than never. The staging, photography and editing are top-tier. Hm - was that a shadow or a person or a creature or just my imagination? Wonderful - let my imagination fill in the blanks. The actors deliver fully fleshed characters. The audience is left juggling loyalties - which of the adults is a "good guy or gal"? Blink and the answer changes. The script does have disjointed plot devices and the music is ill-chosen (the composer should resubmit the soundtrack for a lighter film). Odd duck that I am, my favorite moment occurred as the credits rolled: the sold-out audience erupted in a collective "What the hell?" Give yourself a belated Holiday treat: Darkness awaits you.

Alexander (2004)

Oliver delivers

[7/10 · 7 December 2004]

Oliver Stone makes films I love or hate. 'JFK' is one of my favorite films: it shines in spite of the presence of 'Cavein Causesnore' in a starring role. 'Nixon' was great, as was 'Wall Street.' And then there were 'Natural Born Smellers' and 'The Boors.' Now comes 'Alexander', a film that hadn't premiered before factions picked sides about the portrayal of the lead character's sexuality. Additionally, an early summer medieval spectacular (What was that film's name: Coy, Foy, Poi?) crashed and burned shortly after takeoff. Even with those challenges, I felt that Stone's film deserved a look. To me, 'Alexander' is a surprisingly good film albeit with jarring portrayal flaws. Anthony Hopkins gets the unenviable duty to narrate: his scenes play long and his elocution is so arch it's more Richard Burton than Hannibal Lector. Val Kilmer reminds us that he can overact any part to death. Angelina Jolie is 'Mother from hell,' an unsympathetic role she handles with aplomb. Inevitably, the film rests on Colin Farrell's shoulders and Farrell delivers an unexpectedly human conqueror, a believable, sympathetic man; he is a man more at ease gathering nations under his wing than ensuring that he produce an heir for his kingdom. He accepts innumerable pleasures from exotic people without veering into loutish hedonism. The film never loses sight of this conqueror's most telling trait: he saved his trust and love for the one person he had known and loved since childhood. Alas, this film will vanish to make room studio-conceived blockbusters, perhaps 'Friday the Thirteenth, part 207' or, 'Surviving Easter.'

Seed of Chucky (2004)

Trashy, tacky, dumb and all fun!

[8/10 · 13 November 2004]

OK, OK, I LOVE Jennifer Tilly. She made a big difference in the series as of "Bride of Chucky" and she charges the newest Chucky. Other tidbits: "Glen or Glenda"? and John Waters as a tabloid-style reporter? All plusses to me.

Maybe I don't have any taste, but Jennifer and all her "self-critical" comments are my idea of a fun evening. As usual, Chucky and company slice and dice more than a Veg-a-matic. As for plot and story - heck, the whole series has but one plot but the last two episodes have been very tongue-in-cheek. By now, Chucky has more stitches than a Hollywood star! (Aside: Is Brad Dourif channeling Gilbert Gottfried?) Jennifer asks, "how low can an Oscar nominee go?" Well, Ms. Tilly, I don't care: I'll always see your films.

The Incredibles (2004)

The title says it all!

[12 November 2004]

Here is another "Incredible" Pixar presentation, branching into more teen-adult entertainment quite nicely. The storyline is great: force super creatures out of their familiar elements and give them a non-super existence. Next, tempt them to use their powers. Upon seeing the end of this gem, I immediately prayed for a sequel, something that John Lasseter and company will likely (and wisely?) not do. Pixar is king because the story drives the animation. The voice talent does not overwhelm the story, forcing characterizations to bow to preconceived images. Nightmareworks still shouts about the "Look at all the important stars who appear in our work" while delivering the same tired smirks since Ants. As for me, I'll take Pixar's balance every time. As for 2D animation, some of it has worked quite nicely (Mulan, Aladdin). Give a good story line to talented people and wise audiences follow. Thanks for the early Christmas present, Pixar.

Wicker Park (2004)

He's, like so, you know, totally, like

[4/10 · 4 September 2004]

So said a barely-teen girl as she bounced in her seat, anxious for the movie and its star to appear. This audience member had braces, a touch of acne, a frequently chiming cell phone. She sat near lots of same-age, same-gender persons. They all trembled and squirmed and talked and giggled. Heck, the movie hadn't even begun! As for me (a non-teen, non-female), Josh Hartnett did his best acting to date but that doesn't say much. Matthew Lillard plays, well, Matthew Lillard. Diane Kruger and Rose Byrne are wonderful: they balance credible emotions, intensity, sexiness and vulnerability. The cinematography is sharp, ranging from Chicago in winter to wonderfully colored interior shots.

Some of the chosen songs really enhanced the visuals. The storyline was intriguing enough but 'Wicker Park' suffered from 'clever auteur' syndrome. It's a shame the movie wasn't filmed by two directors (like 'Expectorcist'): we're stuck with this version. I give the film 2 stars for the wonderful shots of Chicago.

Exorcist: The Beginning (2004)

So this is what a dermatologist sees.

[4/10 · 21 August 2004]

It isn't enough that Renny Harlin damaged Geena Davis' career with the aptly named "Cutthroat Island." With Exorcist IV, he has a new love: jarringly extreme closeups. Perhaps counting facial hairs beat counting plot and pacing problems. Stellan Skarsgard and a good cast ably convey what they can with the script. At least in "The Exorcist," Linda Blair's sexually charged comments caused viewer gasps; here, the audience roared with laughter at similar dialogue.

Exorcist: The Beginning easily beats Exorcist II: the Heretic, a travesty sunk by locusts and Richard "I love my voice" Burton. This new one trails Exorcist III which featured George C. Scott and Viveca Lindfors and a few brilliant moments (the fixed-camera hallway scene) amidst some horrible missteps (gee, Brad Dourif can sing in Michael-Jackson-soprano).

I do hope the DVD contains Paul Schrader's version so the viewer can second guess Morgan Creek.

The Haunted Mansion (2003)

It's good, it's not good, it's good, it's not . . .

[6/10 · 30 November 2003]

The "Disney brains" took a complicated, popular, multi-faceted amusement and forced it onto film. With the glaring exception of the cemetery introduction, the CGI and set design are wonderful. Rick Baker makes the most of his otherworldly creatures. And then, there is the rest. Terence Stamp shines in the glowing exception - a well-written character part. Eddie Murphy, Wallace Shawn and Jennifer Tilly are major comedic talents hemmed in by undeveloped roles. The rest of the cast attempts to breathe life into their parts - it's like watching CPR at times. Dazzling eye candy abounds. It's sad that the humans, alive and otherwise weren't as well served. It could have been such a boo-tiful experience.

Straightman (1999)

Quite the surprise - discovered thanks to online sales

[8/10 · 11 October 2003]

While browsing the Gay/Lesbian section of an online video site (TLA), I saw a listing for Straightman and gambled with a purchase. This video is a treats amongst the usual menu of Blockbusters. The cowriters costar as best friends, presented with (pardon the much-repeated cliche) warts and all. The script (or improvisation) combines with an acting style not found in films today: I could believe the people on the screen actually exist. There were awkward pauses, looks, and dialog interruptions: all these things contribute to an air of reality. Hollywood studio productions feature spritzed actors rather than perspiring actors; never is a strand of hair out of place; no one reaches for the "right" words. Such is not the case here. We need more films by Ben and Ben. I hope they do another very soon.

Hangman's Curse (2003)

beat expectations - much better than most teen horror

[8/10 · 15 September 2003]

David Keith and William R. Moses were the only two "known faces" in this film. Not being a Cruise-mobile or some other star vehicle, the story did not need to be altered to suit diva-ish whims. Instead the audience is given a ride through the corridors and personalities typical of high schools. This trip contains no slashing, mutilating, NO VOMITING! What was left? Suspense, good vs evil, numerous potential villains all traveling to a satisfying twist in the end. The one downer to me: the music was good at first, then OK and in the final scenes it was jarringly misguided. Nice job.

Finding Nemo (2003)

10, TEN, ten!

[10/10 · 30 May 2003]

Pixar continues its winning ways. The graphics are so good, the Ocean comes alive with creatures, undulating debris, bubbles, color and enough wonders to fill three films. And yet again, Pixar's staff remembers what Disney forgets: STORY, STORY, STORY. Cutesy animation is OK but can't make up for inane screenplays (Treasure Planet and Atlantis, the lost empire, for example). Ellen DeGeneres, Albert Brooks and all the other voices do their jobs so well. What an adventure! By the way, this old man (60)who shared the theater with children of all ages. Surprisingly, once Finding Nemo started, no one chattered away and no cell phones rang; the only sounds emanating from the viewers were those of great satisfaction. There is one sad note: I can't buy the DVD yet! Darn. But wait, I can go see Finding Nemo again. AND I WILL!

Manic (2001)

As painful as truth itself

[9/10 · 29 May 2003]

With Manic, walk into the theater expecting to see a vivid slice of teenaged life gone painfully wrong. Sit and free the mind of concerns that Hollywood or Concept will diminish the experience. Put down the critic's pencil that can't wait to record the slightest error. Fasten the seat belt and take a deep breath just as the film begins. Those are the preparations I made.

I had once been one of a group of hospitalized youth. Knowing similar territory, I wasn't sure what to expect. Thankfully, the film keeps the story lines spare, with the audience learning just enough to peek into the tormented souls. The hospital staff isn't canonized or demonized: they too are human. The performers, some familiar some unknown, have the right intensity and coiled tension. The camera (and therefore the audience) is literally caught in the middle of the action, sometimes not knowing which way to turn. By its end, the film offers no pat solutions, no dewy sunrise breakthroughs, no "Happy Ending for all."

Manic, to me, feels right. It is jarring, painful, frightening, maddening and true. Would I recommend the film? Sadly, no. Much as I liked and appreciated Manic, I realize that few people would sit through it. So be it.

The Matrix Reloaded (2003)

Worth the wait

[10/10 · 15 May 2003]

Like many people, I had anxiously awaited "Matrix Reloaded." I was concerned that my expectations were too high, but the Wachowski Brothers hit another home run. The principals seem so right and up to every task. The story, cinematography, acting and special effects combine to surprise and delight, dazzling all who watch. Complaints? I wish Monica Bellucci had more time onscreen and, most of all, November 2003 is a LONNNNNNG WAIT.

The Outer Limits (1963–1965)

Like a 60-year-old kid saying "Show it again!"

[4 February 2003]

The Sci-Fi channel is again showing some of the original Outer Limits episodes. Other reviewers accurately note the superiority of plot, dialogue and acting so typical of this series. I don't have any pearls of cleverness to add to those comments, but I want to remind fans that Dominic Frontiere's original music (not the Harry Lubin garbage) is available on CD. Vic Perrin's Control Voice Introduction is there as well.

Far from Heaven (2002)

Exceeds the '50's films.

[16 November 2002]

I have spent most of my 60 years in movie theaters, watching good or bad films with equal relish. Tearjerker movies of the '50 combined beautiful photography, set design, and music. Alas, they also contained egregious scenery chewing from the likes of Susan Hayward, Anne Baxter, and Lana Turner while Jane Wyman moved slightly between wooden and robotic. The male lead played a minor role: silently wear expressions of pain, remorse, guilt, compassion and/or understanding.

Thanks to Todd Haynes and the estimable talents of cast and crew, Far from Heaven is a film far superior to the originals. Julianne Moore's portrayal is spellbinding.

Oh, and yes, the film does accurately reflect that girdled (not gilded) era, at least where I lived.