commandercool88 Reviews

Doubt (I) (2008)

Electrifying and Smart

[8/10 · 14 January 2009]

Where Frosty the Snowman is a heretic. Where gossip are feathers in the wind. Where doubt is just as powerful as certainty. Bringing his Pulitzer Prize winning play to the silver screen, John Patrick Shanley directs 'Doubt' with a steady hand and watchful eye. It is simultaneously a metaphorically obvious picture and one steeped in ambiguity. And while it stays away from saying profound about the Church, 'Doubt' is nevertheless a breathlessly engrossing and captivating tale.

'Doubt' unfolds very much the same way a stage play would. This may be a handicap for some, but in bringing his own work to the screen, Shanley's deep understanding of the material allows the picture to showcase the terrific talent it plays home to. There is nothing particularly arresting about Shanley's direction, no powerful insight. He knows where the true power lies, and he allows the film's obviously capable cast to command the wheel.

With a stare that could turn fire to stone, Meryl Streep demands unconditional attention in 'Doubt'. It is a delicious performance, wrought with unreadable poker faces and deadpan delivery. Only Streep, one of film's greatest talents, could deliver such a role so convincingly. She is joined alongside her noble adversary Philip Seymour Hoffman around every corner, and the cat and mouse game that ensues is explosive and smart. These are two giants going at each other in an intense psychological battle that culminates in many memorable clashes thanks to a sharp script that mounts tension.

Alas, the supreme scene-stealing moment comes from neither Streep, Hoffman, or the wonderful Amy Adams. Viola Davis' single scene provides 'Doubt' one of the year's most impressive show-stopping moments. It's one thing to star alongside Streep. It's another to upstage her. It really is something to watch and admire, a profoundly moving role that will surely earn her an Oscar nomination.

With so much bubbling under the surface, 'Doubt' shows great restraint in not letting the cat out of the bag. Symbols are overly abundant, whether it's a blown out light bulb or powerful wind. But like the film's true nature, certainty lies just out of reach. Ambiguity lends its hand to create a rather unsettling atmosphere that raises more questions than answers. It's a high-quality production across the board, and while it may not leave a huge impact, it's a very potent film that will leave one with much to ponder. Who will you believe? Who will you find sympathy for? Who will you doubt? More reviews: rottentomatoes.com/vine/journal_view.php?journalid=219276&view=public

The Reader (2008)

Uneven film, great performances

[7/10 · 14 January 2009]

'The Reader' tantalizes us with a premise so sultry, so sensuous. Stephen Daldry, who also directed 'The Hours', brings this tale of Nazi accountability to life with the help of a tremendously talented cast. But as the heat of passion wears off, so does the spark that made 'The Reader' such a captivating picture.

'The Reader' nearly achieves greatness during its first hour. It's seductive, sexy. Kate Winslet and David Kross bear all to deliver remarkable and worthy performances. While Winslet is no stranger to stripping down for the camera, David Kross' role as a teenager coming-of-age while living in West Germany during the 1950s is admirably brave. The relationship between these two is captured beautifully on film with human passion during a difficult time of reconstruction and national shame. The film is focused, rapturing.

But as 'The Reader' moves away from its sultry premise, the driving force behind the picture falters. It never ceases to be a fascinating story, but it lacks that emotional punch that would have helped make this a truly memorable experience. It feels rushed, and was in order to be out in time for Oscar consideration. And what was a provocative coming-of-age portrait becomes an interesting but dull look at Holocaust accountability. It suggests an emotionally resonant life story, but in reality 'The Reader' is rather distant. I'm not quite sure what it was getting at, a dilemma that may have risen when translating the source novel from the screen. But I'm not convinced that had Winslet's Hanna been literate, her actions would have been any different. Is it redemption for the awful crimes committed?

The emotional toll that 'The Reader' takes on David Kross' character is obvious. He becomes a heavy smoker, he's forced to watch the trial and humiliation of a woman he thought he knew. Kate Winslet's physical appearance undergoes dramatic changes. The sensuous, lustful body gives way to age. These are two devastatingly human performances, and that makes the difference. 'The Reader' may struggle when it tries to become a profound and meaningful excursion, but the riveting performances of these fine actors is terrific. See it for them. But if you're looking for a more convincing and tragic look at Post-WWII Germany, you may want to look elsewhere.

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North by Northwest (1959)

Hitchcock Goes Mainstream

[10/10 · 14 January 2009]

'North by Northwest' is not as experimental as 'Psycho'. Nor is it as confined as 'Rear Window' or as disturbing as 'Vertigo'. What it is, however, is a mainstream Hitchcock presenting an endlessly entertaining effort. One of the most satisfying spy thrillers, this case of mistaken identity plays out like an intelligent and explosive cat and mouse chase.

Hitchcock was always one to maintain tight control over every set, every shot. He loosens his reigns in 'North by Northwest' by making the United States of America his playing field. From New York to Chicago to Mount Rushmore, this captivating thriller is a grandiose and ambitious picture from the master of suspense. The result is a brilliantly realized picture whose entertainment value could rival today's Bond.

Cary Grant is electrifying as Roger Thornhill, an unsuspecting man mistaken for a mysterious Kaplan. His journey to keep his life becomes a mad dash to escape the hands of the law, and around every corner Grant faces a looming threat. Eva Marie Saint is fantastic as Grant's romantic interest who has much more invested in Thornhill than he ever suspects. The chemistry between the two is unmistakable, making every twist and turn along the way a brilliant sleight of hand only Hitchcock can deliver.

From a heart pounding chase in the middle of a cornfield to a thrilling climax on the face of Mount Rushmore, 'North by Northwest' provides many memorable moments that make this classic a wild ride from start to finish. Sweeping cinematography and vivid imagery only adds to this thrilling, funny, and romantic adventure that span across amber waves of grain and purple mountain majesties. 'North by Northwest' may very well be Hitchcock's most mainstream effort, and you'll savor every moment of it.

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Revolutionary Road (2008)

What happens to a dream deferred?

[10/10 · 4 January 2009]

'Revolutionary Road' digs and picks at a truth so awful and ugly that hiding it or pretending as though it doesn't exist is no longer an option. It is a festering sore below the surface. Ready to explode.

A 1950s Americana suburbia. Quaint little houses. Charming people. Green lawns filled with young rambunctious children. It is the image of desire, of success. But what goes on within those walls when the doors are closed to curious neighbors? What happens when the charming life you lead is anything but? A lie. A carefully constructed, well-manicured lie.

Sam Mendes leads the star-studded adaptation of Richard Yates' novel. It is an explosive observation of suburban life gone astray. Frank and April Wheeler find themselves playing the part. Doing what society tells them is the proper thing to do. Get married. Settle down. Have children. It is the life neither of them wanted. They abuse each other emotionally. Rip each other apart. Tear each other down. Because there is no one else to run to. No way out. No more fake it till you make it. 'Revolutionary Road' is a tragedy. A full-blown suburban tragedy.

The reunion of Leonardo DiCaprio and Kate Winslet find the two under very different circumstances than 'Titanic'. These are two extraordinary performances from two of today's greatest screen talents. They hold no punches in this haunting tale, exploding with powerful emotions that help make 'Revolutionary Road' one of the most explosively entertaining pictures of the year. These are two individuals stuck with each other. Desperately looking for a way out. Putting on a show even to each other, pretending and promising that everything can be okay. And Winslet, who has been criminally passed up for an Oscar five times now, gives this performance everything she can. It is an absolutely devastating but profound role.

Sam Mendes is no stranger to suburban turmoil. He directed 'American Beauty' with a fierce satirical eye. This time around, there's a much more suffocating sense of dread. It's a brooding atmosphere that intoxicates the senses, and 'Revolutionary Road' has a lot to say about this so-called American dream. Michael Shannon finds himself in the role of a mentally disturbed man, the son of the Wheeler's realtor. He makes keen observations about the world around him, and while his condition render his words as insanity, there is an undeniable truth to them. All the lies, all the emptiness. 'Revolutionary Road' is a downer, but difficult to argue against.

Hot to the touch, 'Revolutionary Road' stirs the pot and turns traditional expectations on its side. It's a disturbing tale of isolation and hopelessness. Mendes begs the question, at what cost? At what cost are we willing to put on this charade? To pretend to be something we aren't? It's one of this year's very best pictures, something that will leave a heavy shroud over you that's shockingly difficult to shake off.

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Valkyrie (2008)

Amazing story, decent movie.

[6/10 · 3 January 2009]

Colonel Stauffenberg's plot to assassinate Adolf Hitler extends well beyond the limitations of any Hollywood film. It is a source of great pride for many Germans, telling the story of few standing up to many in the face of daunting odds. 'Valkyrie', in the hands of a capable director such as Bryan Singer, could and should have been much better. But as it stands, this latest Tom Cruise vehicle is at the very least a decent and relatively entertaining attempt to retell a fascinating moment in history.

The most impressive aspect about 'Valkyrie' is, despite us knowing the outcome even before walking into the theater, its ability to build enough tension that for a few brief moments we may actually believe that Stauffenberg and his men will actually succeed in their mission. It has to be the biggest strength for this picture, anything less than convincing would have been an utter failure. I knew very little about the July 20th plot going into the film, and I can honestly say I was staggered at how far the plot advanced and how close these men came to succeeding.

Tom Cruise may actually receive more awards consideration for his bizarre turn in 'Tropic Thunder' than his portrayal as the national hero in 'Valkyrie'. Though that shouldn't undercut what is an otherwise okay performance. A bit stiff, but he's far from being the distraction many feared. Performances from the entire cast are rather solid, and the choice to cast mostly English actors may seem strange, but it really doesn't take us out of the movie or become anything problematic. Kenneth Branagh, Bill Nighy, Tom Wilkinson, Eddie Izzard, and Jamie Parker all fit into their roles nicely to provide 'Valkyrie' a sturdy supporting cast.

Ultimately, 'Valkyrie' never quite resonates as the profound historical thriller it aspires to be. The script never goes nearly as deep as I would have liked, we're given little access to background information that may have allowed the film to resonate much more strongly. Bryan Singer's typical character driven approach never fully resonates, leaving something to be desired in the emotional department. But as it stands, a fine editing job helps the good outweigh the bad. This is an amazing story on its own right, even if it doesn't translate to a great film. 'Valkyrie' reminds us that moral responsibility should never be sacrificed for personal gain. That even when death is almost certain, it is not failure. An intriguing and important history lesson, no doubt.

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Yes Man (2008)

Average Carrey Comedy

[5/10 · 1 January 2009]

There's not much to get with a film like 'Yes Man'. It's the kind of vehicle you would have expected from Jim Carrey some ten years ago in the thick of his one-trick pony concept films. It's not a bad movie, and it's actually very entertaining, but it's the sort of movie you forget about ten minutes after walking out of the theater.

It's the concept of 'Yes Man' that just screams utter lunacy. A man who says 'yes'. To everything. If he says 'no', awful things will happen. How on earth can a film sustain such a flimsy and empty plot for 100 minutes? Thankfully, 'Yes Man' is so harmless and lofty that Jim Carrey barely has to sell us anything for us to willingly go along with it. He seems right at home here, even if it feels like an attempt to rekindle prior hit machines. Though quite honestly, I'll take this Carrey over 'The Number 23' any day. But after seeing his potential in films like 'Eternal Sunshine', he's better than this.

Carrey's routine works well enough to garner a few laughs. Not many, and I really can't recall any gut-busting jokes, but 'Yes Man' will get you chuckling to the point where you won't feel like the money spent was a complete waste. And once again, the gorgeous Zooey Deschanel finds herself in a film that really has nowhere to go. But she makes the best of what the script gives her, and like many of the films she participates in, she's the life of the party. Proving once again that she can also hold a note, 'Yes Man' should have been a better vehicle for her singing career than Carrey's goofball antics.

I have perhaps saved the best for last. In case you ever forgot that Warner Bros. does have a stake in this silly thing we like to call Hollywood, 'Yes Man' is practically a 100 minute infomercial advertising their many products. There are no less than a dozen references to all things related to this film's parent studio. And in case you're the subtle type, Warner Bros. doesn't hesitate to hit you over the head with their involvement with 'Harry Potter', '300', 'The Goonies', and yes, even Third Eye Blind. Who were, in case you didn't know, signed onto Warner's music label. So even if 'Yes Man' rings mostly hollow despite its good-natured attempt to teach us a life-affirming message, Warner Bros. has another issue on their agenda. They make movies, and even music, and they hope you don't take the shortcomings of a film like 'Yes Man' too personally.

The joke's on us.

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The Wrestler (2008)

Rourke's Heartfelt Return

[9/10 · 1 January 2009]

Darren Aronofsky has without a doubt proved his worth as one of the great poets of film. After a detour into the metaphysical and downright brilliant excursion of 'The Fountain', Aronfsky has returned to the gritty depths of humanity to deliver an endearing and heartbreaking story. It is an utterly well-made picture, and though there are many reasons to see it, the real success of 'The Wrestler' rests on the battered and bloodied shoulders of one man. Mickey Rourke.

After suffering a heart attack, the once popular but still fierce Randy 'The Ram' stands at one of life's many crossroads. He's told that wrestling with his heart condition will kill him, but retirement doesn't find Randy much better off. Living a life that lacks passion, our gentle giant is stuck in a futureless job and attempts to mend relations with his estranged daughter don't over as planned. His closest acquaintance is a stripper who, while meaning well, is hesitant to move as close as Randy might want.

'The Wrestler' finds itself as a film about redemption in more ways than one. For it is Mickey Rourke's absolutely devastating performance that will stick in your mind for a long time. Not only for its tremendous caliber that will help it go down as one of the greats, but because we really do witness the return of a man who, like Randy, hasn't had an easy life. His perseverance is staggering, his transformation is jaw-dropping. It's a performance that may very well win Rourke an Oscar, a meaty role that will in all likelihood become a career high point.

'The Wrestler' is in almost all aspects an actor's movie. While Rourke deservedly dominates the screen, Marisa Tomei turns heads in a gutsy, baring, but ultimately memorable role. She finds a way to separate her career as a stripper from her life as a mother. Something Randy has not been able to do, and therein lies the tragedy of 'The Wrestler'. Evan Rachel Wood's moving performance as Randy's daughter is filled with anger and grief. And she probably has every right to feel that way. Randy never gave her the life she deserved, and he knows it.

It's a profound film, a heartbreaking film. The story of a man who collides with life head-on. Even if it costs him everything he knows. Aronofsky has given us something truly remarkable that is at times difficult to watch, but never fails to entertain and move us. One of the best film's of the year is also one of the most affecting, and in 'The Wrestler' you will find one of the most mesmerizing and human performances of the year.

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The Curious Case of Benjamin Button (2008)

Beautifully Enchanting Epic

[9/10 · 1 January 2009]

'The Curious Case of Benjamin Button' is, in every sense of the word, a devastatingly beautiful epic. Inspired by the F. Scott Fitzgerald story and brought to life by the masterful David Fincher, this majestic tale of a man who travels through life aging backwards strikes a special note. With a hint of wonderment and magic, 'Benjamin Button' quietly becomes one of the year's best films. A bizarre but entrancing look at life, death, and everything in between.

The beauty of 'Benjamin Button' is far-reaching. Technically, it's practically flawless. Fincher has constructed a film so visually arresting and aesthetically pleasing. The film leaps from the screen like a vivid, colorful dream. It takes us on a journey through time, understood through the eyes of a man who was born under rather extraordinary circumstances. Despite his curious nature, Benjamin is not a hero. His uniqueness does not offer any groundbreaking insights into the gift of life. He is, like you and me, an imperfect being. Living life the best way he knows how, head-on. Quite literally, actually.

Though the film tops nearly three hours, 'Benjamin Button' feels anything but. Though it builds gradually, Fincher's ability to tell a story is like few others. With an excellent pace, this sprawling ode to life will captivate you even if you have to sit in the very front row of a sold-out theater. Glued to your seat, you'll simply stare in wonder at this beautiful picture. As it progresses, the life of Benjamin Button sweeps us off our feet as we follow him around the world. Never staying anywhere for too long, but always touched by individuals walking - sometimes swimming - on their own path of life.

If there's one aspect of 'Benjamin Button' that keeps it from being a heartfelt masterpiece, it's that it does come off cold and distant at times. It's hard to say why, but it's as if we're only allowed to watch at arm's length. It may just be that Fincher has never dared to tackle a film of this magnitude. Like so many, he may still be learning. But one thing is certain, the film never manages to be anything less than richly enchanting and wonderfully told. Adapted for the screen by Eric Roth, 'Button' never falls victim to melodrama, which may have very well rendered this picture as one hot mess. And if you find the resemblance to 'Forest Gump' striking, Roth also wrote the script for that sprawling journey, but remember that Fitzgerald penned his short story back in 1921.

Every performance found here is, of course, fantastic. Brad Pitt delivers one of the best performances of the career, a challenging and thought-provoking role. His transformation throughout the film is so well-done and convincing. Cate Blanchett is beautifully cast, and though her character is not always likable, her involvement benefits the film greatly. The performance, however, doesn't come from either of these two leads. Taraji P. Henson, who plays the woman who raises Benjamin as his own, delivers a strikingly passionate performance that's profoundly touching.

Ultimately, 'The Curious Case of Benjamin Button' comes full circle to transcend convention and rises as a lyrical celebration of life. It leaves us with a touching and - finally - emotional exitlude. It affirms imperfect nature of us all, the individual quirks that make us who we are. It confronts death, not as the enemy, but so we appreciate how important those people were to us. We're told that it's never too late to be who we were meant to be. If we're not happy, start over. If we fail, try again. Life is what you make of it, the choices you make and what you choose to do with the time that's been given. Live with no regrets, and embrace the magic and of it all.

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It's a Wonderful Life (1946)

Magical.

[9/10 · 1 January 2009]

If 'It's a Wonderful Life' were released today, it would surely be targeted for being overly cheesy and schmaltzy. And there really is no arguing with that. It is a movie rife with sentimentality and a sugary touch by the great Frank Capra. But if that's a crime, so be it. If this holiday classic doesn't pull at your heartstrings, I can't help but feel a little sorry for you. For if you let it, 'It's a Wonderful Life' will whisk you away on an unforgettable journey.

This perennial classic is often immortalized every year with an annual television special. It takes us through the life of George Bailey, from seemingly unimportant childhood events to a family man struggling in the midst of the Great Depression. It's a world where the universe is alive with angels watching over us, and each of us has their very own guardian angel. All of this will become of dire use to Bailey after his father's death leaves him in charge of a business he never intended to work for. A life full of dreams and aspirations have, quite suddenly, been extinguished.

It really is Jimmy Stewart's wonderful portrayal as Bailey that lifts this entire film. He is a respected man, a character we come to care deeply about. Bailey is compassionate, selfless, uncorrupt. But despite a beautiful wife and loving children, he is never completely satisfied with the life he's made for himself. 'It's a Wonderful Life' revolves around the historically tumultuous times of the Depression and World War II. During these troublesome years, Capra conveys the thought that it is our loved ones who remain the most important and stable part of our lives.

It runs a little long, but 'It's a Wonderful Life' builds to an ending that's as cheesy as it is powerful. When Bailey sees a world without him, and the true impact he had on the lives of others. These are touching scenes, not only for this season of giving, but it's a film we can embrace any time of the year. George Bailey was no exception to the rule, because as a certain angel tells Bailey during a highly emotional conclusion, "no man is a failure who has friends." This is a great film, one that has lived on through the years to represent a belief in hope and the power of one man's impact.

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Wendy and Lucy (2008)

Simple story, powerful message.

[8/10 · 1 January 2009]

Is there no more great frontier? Has time run out on those who look west to a better tomorrow? 'Wendy and Lucy' is a small movie with its scope set on a larger, subtle target. Soft-spoken but very admirable, Kelly Reichardt has crafted a touching story of one girl's endless search for her dog.

On the road to Alaska in search for better economic opportunity, Wendy finds herself in a small Oregon town where its citizens seem to live on the fringe of poverty long after job-providing factories have closed up shop. Keeping track of every penny she spends, Wendy's car suddenly won't start. And after an attempt to shoplift a bit of food sidelines her, she loses track of Lucy. A dog, a companion, and her best friend.

A determined Wendy searches for Lucy in every nook and cranny. Played by a quiet Michelle Williams, this is a subdued performance but a strong one. A portrait of loneliness, of heartbreak. She lives a life far from fortunate, but she holds her head high and looks to Alaska for hope. And in a small neighborhood where her situation seems to only go from bad to worse, Wendy has nobody to rely on but a friendly elderly security guard. Giving her a sense of moral support she probably is in desperate need for, we expect emotion. But staring panic in the face, Wendy remains strong. Her first moment of visible emotional anguish and vulnerability comes after a terrifying encounter in a forest in the middle of the night. A glimpse into her future as a vagabond? 'Wendy and Lucy' comes at a time when our own economy is in a state of perpetual free fall, which helps Reichardt drive her timely message home. It is these often seemingly mundane and unimportant everyday activities that may cause the film to drag, though it comes in at a slim 80 minutes. But it is these events that help the film and Williams find personality. 'Wendy and Lucy' asks us to be strong, to stick with our character. And it offers an ending that will pull at the heartstring of even the most hardened cynic. A tough, very challenging situation you and I would never want to find ourselves in. It speaks of conviction, of doing the right thing even when it's impossibly difficult.

Raw but surprisingly gripping, Reichardt does much with little. It's a touching picture, a bittersweet one. 'Wendy and Lucy' may feel minor, but it's a fine piece of beautifully told cinema. A snapshot that gains more appreciation upon reflection.

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Synecdoche, New York (2008)

A thought-provoking, challenging Kaufman experience.

[8/10 · 20 December 2008]

syn⋅ec⋅do⋅che: a figure of speech in which a part is used for the whole or the whole for a part, the special for the general or the general for the special 'Synecdoche, New York' marks Charlie Kaufman's directorial debut. A monumental event on its own right. It is a maddening venture, a staggering project to face life's greatest of mysteries. Kaufman takes us on a soul-searching journey, one that he is taking every bit as much as we. It is a trip unlike any I have ever seen, and to say that I enjoyed it would be a very difficult thing to say. But 'Synecdoche' seems to be pointing towards something very profound, as undecipherable as it may appear. A flawed masterpiece, and a risk Kaufman seems willing to take.

There's nothing easy about 'Synecdoche', it is one of the most difficult films I've sat through. It's the sprawling story of one man's life, a tragic life. Philip Seymour Hoffman gives a harrowing performance as his character attempts to create a play of realism and honesty. And even as he dives head first into his work, his own life is in a perpetual state of free fall. A wife who leaves him, a daughter out of his life, relationships that crash and burn. His play, inside a warehouse where he has reconstructed New York City for people to live our their ordinary lives, becomes a fruitless and maddening descent into unhappiness and destruction.

What is 'Synecdoche' about? Is it one man's search for meaning in the midst of meaninglessness? That in order to appreciate the preciousness of life, we must accept the inherent chaos. Existence is what we make of it, and it is the choices we make that shape and define who we are and the lives we lead. Every choice brings with it a million different consequences, some seen and others that go unnoticed.

Kaufman tells us we are one in a world of many. We each play a starring role in the story of our life. People we meet every day, those we know and love. Never will we truly know them, their thoughts, or why they do what they do. And maybe it's not up to us to decipher what we will never understand. We must look inward, not to others, to find peace and insight.

If life is a play, the world is our stage. We only have this one shot, no second chances. We try to control our projectories, cast roles that need to be filled. In the end, what does it matter? Will the world miss us when we're gone? Life is what you make of it. 'Synecdoche, New York' dares to search for meaning, reconcile paradoxes to which there are no answers. But that doesn't keep Kaufman from giving it his best, as tedious and heart-wrenching as it may sometimes be.

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Rachel Getting Married (2008)

Fantastic performances ring true.

[7/10 · 20 December 2008]

'Rachel Getting Married' is the film 'Margot at the Wedding' tried so desperately to be. An emotionally poignant story of a dysfunctional family, highlighted by an absolutely dazzling performance by Anne Hathaway. Director Jonathan Demme captures such an organic perspective of an American family, and through their troubles arises a fine film worth checking out.

A film that stays true and honest, 'Rachel Getting Married' is able to effectively avoid the pitfalls of melodrama. It doesn't shy away from hard-hitting issues, many of which are painful enough to even imagine. Hathaway's performance as a troubled young woman returning home (again) from rehab to attend her sister's wedding brings to light unresolved family wounds that have been left to suffer and deepen. It is an unconventional performance, but a star-making performance at that. Hathaway transforms into her character and crackles on-screen. She brings home with her a tragedy so unspeakable in this family's past, and the only way you can truly experience it is to see the film for yourself.

'Rachel Getting Married' is full of these moments that will pull forcefully at your heartstrings. And while the film may seem bogged down in sadness and grief, there is a life-affirming message of forgiveness and healing beneath its surface. Demme's showcase of family is not one of perfection or unconditional happiness, it is an emotional and sometimes painful portrait of what a true American family may actually look like. Demme doesn't set out to pass judgment, he observes objectively. Aided by a fantastic ensemble cast that includes Rosemarie DeWitt, Mather Zickel, Bill Irwin, and the great Debra Winger, 'Rachel Getting Married' works as a compelling piece of work.

Despite many excellent components coming together to form a strong film, there comes a point where 'Rachel Getting Married' crashes into a wall and never really recovers. This moment comes, ironically enough, after the wedding when the reception begins. What had been a tightly wound and explosive drama up until that point begins to drag and meander through an overabundance of music and happy people. Demme just doesn't know when to quit when the film overstays its welcome. It's a film worth seeing for Hathaway's brilliant and Oscar-caliber performance, but you'll wish you could fast-forward through a mostly unnecessary and unfortunate third act.

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Happy-Go-Lucky (2008)

Irresistible, timely.

[9/10 · 20 December 2008]

'Happy-Go-Lucky' is, quite simply, an irresistible comedy. A brilliantly charming film with a big sense of humor and even bigger heart, Mike Leigh's latest work is a crowd pleaser of the greatest kind. A truly heartfelt gem in troubled times. And, oh yeah, I've heard a thing or two about this Sally Hawkins girl...

Though 'Happy-Go-Lucky' may be about as light and breezy as they come, it is relentlessly entertaining and packs quite a punch. For in a world as dreary as the one we live in, there is Poppy. When most people would be cynical and disgruntled, Poppy smiles a smile that would light up a room. Here is the story of a woman who just won't stop until she makes everyone happy. Even if the world may be against her, Poppy represents something this world needs. Something that, should that light flicker out, would make the world a much darker place.

Enough cannot be said about Sally Hawkins' brilliant performance. It isn't often that a character this bubbly, this likable comes to the screen. And it's even rarer to see it pulled off so well. What might have been an overbearing layer of sugary sweet, 'Happy-Go-Lucky' has such an unbeatable human spirit that beats vibrantly of life. Hawkins is downright enchanting, you want the best for her. You want that glimmer of hope that she holds on to with such ferocity to not be in vain. Much depends on it. Any other person might have been furious to discover their bike stolen, but not Poppy. Any other person would have walked away from a borderline terrifying and obsessive driving instructor like the one in 'Happy-Go-Lucky', but not Poppy. Not Poppy.

Mike Leigh writes and directs 'Happy-Go-Lucky' with exceptional tenderness. There is no set beginning, middle, or end, but a glimpse into the ordinary life of a woman who never gives up on the world. Leigh allows us to hold onto that optimism without feeling the need to intervene and spoil the party. He allows us to latch onto Poppy and cherish her glass half-full perspective, and that makes all the difference. It may not reach a mainstream audience, but I believe this to be one of this year's best feel-good movies. Like a meal of your favorite comfort foods, 'Happy-Go-Lucky' goes down smooth as butter. An Oscar nomination is surely in order for the wonderful Hawkins, but you'll also get to relish in what is one of this year's finest and genuine offerings.

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Gran Torino (2008)

Shamelessly Ridiculous and Entertaining

[8/10 · 20 December 2008]

A shameless Clint Eastwood takes the reigns in 'Gran Torino', an absolutely ridiculous but undeniable crowd pleaser. It is the unlikeliest of films, both humorous and thrilling. What begins as a picture that's very difficult to take seriously transforms into something much more respectable. One of the weirdest films you'll see this year, or any year, but 'Gran Torino' will win you over.

After the death of his wife, grumpy Eastwood's Walt Kowalski does what any widower in mourning would do. Terrorize his Asian neighbors and threaten local gangs. Here is a man so bitter, so unhappy with the changing world around him. A veteran of the Korean War, Walt holds onto as many racial prejudices as one could imagine. It is an absurd tongue-in-cheek character for Eastwood, a combination of every Dirty Harry-esquire role he's played that gives him an excuse to grunt and grimace every chance he gets. If I wasn't supposed to laugh, something is very wrong with this film.

Thankfully, I think the comedy is every bit intentional in 'Gran Torino'. Though Eastwood shows no signs of slowing down at 78, this is a sort of swan song for Hollywood's perennial heavy lifter. But if his latest film is about anything, it's not Eastwood's prized 1972 Gran Torino. After taking Thao, the neighborhood boy targeted by his cousin's gang, under his wing, 'Gran Torino' takes on a more poignant message of redemption. He instills quirky but sincere morals and values in the young lad, and through the process has his own eyes opened to a culture he never cared or tried to understand.

Through all his racial slurs, Walt becomes one of the most strangely likable characters of the year. And though the spotlight is certainly on Eastwood, the film is buoyed by shining performances from the young Bee Vang and Ahney Her. Once Eastwood becomes satisfied with his self-referential humor, 'Gran Torino' moves out from underneath its own awkwardness and into something more serious and reflective. Once the film hits its stride, it doesn't take a genius to know where 'Gran Torino' is taking us. It is a hugely entertaining ordeal, and as effective as a film like this permits. It's an odd movie, 'Gran Torino'. But one you'll find yourself enjoying more and more as time goes on. A hard-edged and rugged salute to a career that has finally come full circle.

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Seven Pounds (2008)

Live life abundantly.

[9/10 · 20 December 2008]

With a marketing push that has kept much of 'Seven Pounds' shrouded in mystery, one must walk into this fascinating project with no expectations or preconceived notions. What does culminate in Will Smith's latest vehicle is something much more shocking and emotional than few could have ever expected.

Gabriele Muccino, who directed Will Smith in 'The Pursuit of Happiness', sends us all for a loop in 'Seven Pounds'. A carefully crafted and shamelessly manipulative loop. Here is such an intricately woven film that little by little allows its audience a small glimpse into the heart of the story. It revolves around a deeply wounded man selflessly dedicating himself to changing the lives of strangers. But for what? To be sure, 'Seven Pounds' lays it all before us in the beginning seconds of this journey. But the reasons behind Smith's actions, or the eventual outcome, will keep your attention glued to the screen as each piece of the puzzle gradually come together.

I have to confess that I'm not Smith's biggest fan. But I like him in these roles. He can flex his action muscles anytime he wants to, but to dive into a much more challenging role is something much more impressive than any alien or zombie attack. Smith digs deep to bring a human touch to Ben Thomas, a man we like more than he probably wants us to. It's a roller-coaster performance wrought with human emotion, and it's the motives behind Smith's eyes that keep 'Seven Pounds' a continually compelling affair. Even Smith's on-screen partner Rosario Dawson has never looked more beautiful, and a heart-wrenching performance adds such a powerful layer to this mystery.

'Seven Pounds' works hard to guard its secrets. It doesn't have to explain anything. It shows you. Gabriele Muccino goes for the heart, and when that spark between Smith and Dawson is lit, 'Seven Pounds' finds its soul and becomes one of this season's most touching pictures. I can't possibly go any further without spoiling it for those who have yet to experience it for themselves, but it is one man's profound journey to find spiritual redemption and salvation. That life is valuable, something to cherish. Is it sugary and sappy? Yes, yes it is. But it's a story with its heart in the right place, however convoluted it may appear to be. One man's painful journey becomes a memorable and powerful tale for the holiday season.

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Frost/Nixon (2008)

Phenomenal Performances, Thrilling Story

[8/10 · 20 December 2008]

If it's drama you want, it's drama you'll get. 'Frost/Nixon' is a fierce cat and mouse political game, one that gleams of tension and intellectual wit. While falling short of an unabashed masterpiece, Ron Howard has taken the popular play of the same name and given it the Hollywood treatment. An exceptional film filled with fine performances as far as the eye can see, it entertains as well as educates.

While mostly unnecessary, Howard's mockumentary approach to the story seems fitting enough as it does add some historical weight to 'Frost/Nixon'. It all becomes an absorbing experience, and at times it's easy to forget that thirty years have passed since David Frost and Richard Nixon set foot in the ring to duel. But if understanding history is a pivotal cornerstone, then 'Frost/Nixon' remains an important and powerful history lesson. Even if it's been spiced up for the silver screen in the process. And during a current administration whose dealings have been questionable at best, learning from our mistakes is the only way we'll ever learn.

'Frost/Nixon' plays out very much as if it were unfolding on stage. And that allows our cast to soak up a thrilling script and show off some serious acting chops. Michael Sheen's performance as David Frost, a sort of Ryan Seacrest of the '70s, is brilliant. An underdog opportunity to take on a man who would never stand trial for one of the greatest crimes committed in American history. It was an oddball moment in history for sure, which made the end result that much more surprising. And the man who steals the show is, of course, a stunning Frank Langella. His portrayal of Richard Nixon is nothing short of astonishing. It's more of an immersion into Nixon the man instead of a mere imitation.

Strangely enough, Nixon doesn't come off as the villain. Rather, a man who is finally forced to stand the trial he never had to endure in the court of law. The court of public opinion, however, can be just as damning. Nixon could no longer hide from the truth. He was a man haunted by his own grave mistakes that greatly hurt a nation, and it was time to stare them in the face. It's a notable and at times memorable film, even if it doesn't always jump off the screen. Offering up a finale so fascinating and thick with tension, it's difficult to deny the skill and finesse involved to give 'Frost/Nixon' the justice it deserved. It's an impressive showing, and one of the year's better films.

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Slumdog Millionaire (2008)

A fairytale story you will never forget.

[10/10 · 20 December 2008]

'Slumdog Millionaire' is something of a miracle. In an industry where heartbreak and tragedy often rule out, here is a movie you can genuinely root for. One that hits all the right notes. Whatever you may take away from Danny Boyle's aesthetic journey through India, it will almost certainly leave you with a smile and sense of wonderment.

Oddly enough, there isn't anything particularly groundbreaking about 'Slumdog Millionaire'. It is in many ways a traditional rags to riches story, but told with such freshness and endearment that everything you see on-screen is exciting and unpredictable. A bizarre story, told through the eyes of a young man competing on India's version of 'Who Wants to Be a Millionaire'. One question away from the million dollar question, our main character Jamal is arrested and accused of cheating. He has, as time will soon show, become a national hero. Because Jamal does not come from a privileged background. He is, in fact, an orphan who has not had a proper education since he was a young boy. But there is an amazing story intertwined, and it's as dazzling as it is unforgettable.

To prove his honesty, Jamal traces his steps back to the very beginning. He tells the story of his life, weaving in every question asked on the show and applying it to a life lived without any shortcuts. From innocence to maturity, and a never ending search for one girl's affection. We're given access to a side of India rarely seen by outsiders, as beautiful as it is impoverished. There is such passion behind Boyle's direction, an English filmmaker who has given us a very diverse collection of films throughout the years, and he presents us with a picture that desperately seeks for truth and greatness. A vision that affirms life around every corner even when encountering the lowest of lows.

'Slumdog Millionaire' is the right film at the right time. It's an underdog story we can all cheer for, and one that has the awesome potential to move an entire audience. The film's cast, many characters are played by multiple actors as the years pass, all come together to form something very special. Dev Patel in particular, who plays our present day Jamal, is a great young talent who delivers a fine performance. And from its dizzying but fantastic editing to breathtaking cinematography, 'Slumdog Millionaire' is everything you could ask for in a film and then some. Nothing I say could possibly give a film like this justice, you simply have to experience it for yourself and witness the power. 'Slumdog Millionaire' is about as good as they come. A fairytale story you will never forget.

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Control (2007)

Haunting Cinema

[9/10 · 20 December 2008]

The tragic life of Joy Division's Ian Curtis comes to life in the bleak black and white 'Control'. Anton Corbijn's debut film places a microscope over the singer's short life, and it's a perceptive and significant entry to the biopic cannon. Bolstered by a fantastic and even haunting performance from Sam Riley, 'Control' is a difficult but admirable effort to shed light on one man's mysterious life.

There's a quality to 'Control' that almost forces its viewer to watch from a distance, and I feel this was an intentional choice. Ian Curtis, by today's standards, would be labeled as one of those introspective emo boys. There seems to be a fiery passion underneath, but he's almost shut off to the rest of the world. Riley's tremendous performance at times comes off as frighteningly realistic, but through all his personal torment, he comes off as a distant and detached person who's difficult to read.

One may almost feel empathy for Curtis' situation in life. He is at once being pulled between two very different worlds. Life with his wife and daughter or a promising band on the brink of international stardom. The script, co-written by Ian's real-life wife Deborah Curtis, portrays the singer as an increasingly unhappy man. Trapped in a life he can't seem to escape either which way, a life he has no control over. His own selfishness and health complications hurt those who loved him most, and Samantha Morton's performance as Deborah is a painful and heartbreaking thing to watch.

Photographed in black and white, the absence of color seems fitting. 'Control' doesn't intend to explain or rationalize Ian's decisions in life, it is what it is. His eventual suicide at 23 is one that leaves us with a pang of emptiness but not surprise. 'Control' is a tragic story, and a profoundly difficult piece of work. It doesn't look for the light at the end of the tunnel, it's a picture that comes to a screeching halt as the life of another ends. There are no Hollywood fix-ups, no glamor.

It is such a realness that makes 'Control' difficult to judge. One knows after watching that they have witnessed something very special, no matter how brutal it may have been. Art isn't always beautiful, 'Control' certainly isn't. But it is art.

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Beauty and the Beast (1991)

Be our guest.

[10/10 · 20 December 2008]

'Beauty and the Beast' remains the first, and likely only, animated film to ever be nominated for the Oscar's Best Picture. It is perhaps the highest accolade ever bestowed on the world of animation, that they could compete with the best of Hollywood's live-action batch. It was and still is an honor very much deserved by this Disney classic. And years later, 'Beauty and the Beast' stands as a remarkable testament to the power of cinema.

In a scene where Pixar appropriately dominates the field with stellar computer animation and heart-warming stories for kids and adults, it takes a film like 'Beauty and the Beast' to remind us all of the wonders Disney was able to accomplish. Of all the classics they have churned out throughout the years, this must be one of their finest. It is a simple story, but one that will sweep you off your feet with magic and enchantment.

A classic story of unexpected love, a tale as old as time. One prince's curse to find the inner beauty leaves him a hideous beast, trapped to a lonely life in a vast castle. The arrival of Belle, a charming local, in a quest to find her father sparks the beginning of a true fairytale as she herself struggles to find the tenderness beneath the Beast's thick skin. It is a story for the ages, with sparks of magical imagination found in every beautiful frame of Disney's animation. It is not limited only to the youngsters, as 'Beauty and the Beast' has enough carefully constructed layers that will appeal to viewers of all ages.

Touched with treasures of charm, romance, wit, and dazzling musical numbers, 'Beauty and the Beast' is an unforgettable portrait of love filled with memorable characters. From our two main characters to an castle full of enchanted objects. The brilliant presence of Lumiere, Cogsworth, Mrs. Potts, and Chip light up the screen and bring a smile to your face. 'Beauty and the Beast' is a film to be cherished time after time, a truly great film with a warm message of love and acceptance. A breathtaking and spellbinding experience that remains a timeless classic.

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The Diving Bell and the Butterfly (2007)

Power of the Imagination

[10/10 · 20 December 2008]

'The Diving Bell and the Butterfly' is the celebration of life, not the mourning of one's tragic circumstance. It is at once a truly frightening and breathtakingly beautiful film, interpreted for the screen masterfully by Julian Schnabel. A triumph for cinema and a heartfelt story, 'Diving Bell' is a powerfully wonderful experience that redefines the way in which film is approached and brought to life.

Jean-Dominique Bauby, editor of Elle magazine, suffered a massive stroke in December of 1995. Completely paralyzed and left speechless, Bauby was inflicted by a rare condition known as Locked-In Syndrome. But through a system of blinking and with the help of a translator, Bauby wrote the book 'The Diving Bell and the Butterfly'. A testament to the power of human will and the imagination, these events that transpired during his life are brought to life with such passion and exuberance. What begins as a nightmare transforms into a life-affirming portrait of one man, flaws and all.

The subject matter is what makes 'Diving Bell' such a difficult film to approach both on a cinematic and emotional level. The challenges to bringing such a tremendous story to film is handled flawlessly by Julian Schnabel. His technique offers a piercing look into Bauby and those who surrounded him during his ordeal. Few films have danced with such visual beauty as this one does, from Celine's hair blowing blissfully in the wind to Henriette looking compassionately into Bauby's eyes, our eyes. This is staggeringly captivating film.

Though the majority of his performance consists of unseen narration or sitting paralyzed in a wheelchair or hospital bed, Mathieu Amalric's transformational role as Jean-Do is nonetheless one worth admiring. His thoughts, which must have been taken directly from his memoir, are powerfully eloquent and poetic (and not without a sense of humor). 'Diving Bell' could have allowed its characters and we as a viewer wallow in Bauby's horrific twist of fate, but Schnabel never allows that to happen. As heartbreaking and tragic as it may be, there is an undeniable level of optimism weaved into the threads. A love letter to the human spirit and the resounding beauties of the world and people all around us.

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Milk (I) (2008)

"You gotta give them hope."

[10/10 · 20 December 2008]

Every now and then, a movie comes around that's too timely and poignant for words. This year, that film is 'Milk'. Not only a superbly crafted American film, but a vastly important one at that. Gus Van Sant's portrait of this nation's first openly gay man elected to public office is a stirring and compelling look into the birth of a revolution whose struggles continue today. 'Milk' speaks to the heart of a generation, and with a message of acceptance that should be seen by all.

'Milk' first comes to us with a montage of grainy black-and-white file footage of men being arrested and led out of homosexual bars. It then cuts to Harvey Milk, sitting alone at a kitchen table speaking into a tape recorder. A tape that, Harvey tell us, is only to be played in the event of his assassination. It is his story that becomes the framework of this deeply affecting biopic, one that speaks to events today as much as they did when 'Milk' would unfold in the 70s. It is Gus Van Sant's decision to use such file footage throughout the film to enhance its own reality. This is real, this happened.

Sean Penn. What can you say? 'Milk' takes us on a journey, but Sean Penn takes us to the soul of a man. A man who has stood up for what he believes in, a man who will stand idle no more. Sean disappears into Harvey and delivers a deeply human performance, one that blew me away with such passion and determinism. Here is a man who refuses to quit even when staring defeat in the face. No mountain, however high or steep, is ever impossible to climb. His struggle becomes the voice of a movement to grant equal rights for all, no matter your sexual orientation. A tragic revolution that almost forces an entire population to make their case for simple civil rights.

Though Penn's amazing performance may very well be the highlight of this film, there's no overlooking a strong supporting cast that surrounds Penn. Included is James Franco, who continues to prove his worth as an actor. Playing one of Penn's partners, Franco takes advantage of a small role and makes the very most out of it. It's a star turn for Franco, who is also joined by scene-stealing Emile Hirsch, Alison Pill, and Joseph Cross. It is Josh Brolin who portrays Milk's colleague Dan White, a man tortured by his own beliefs and the changing landscape. It would be White who ultimately took the lives of Milk and Mayor Moscone.

'Milk' is not your typical Hollywood biopic. It doesn't bubble over with sensational claims and depictions. It's neither the image of a larger-than-life character who struck big-time with overwhelming fame or fortune. It is a story to believe in, to draw hope and strength from. It is not strictly a gay movie, I honestly believe anyone will find an inspirational note to walk away with. To overcome one's persecutions is to uphold one of our most timeless creeds: the right to life, liberty, and the pursuit of happiness. And though Milk's life ended in unspeakable tragedy, his bravery inspired millions to rise up.

'Milk' first showed us a gay oppression at the hands of the law. It leaves us with a candlelight vigil marching through the streets of San Francisco. It is singularly the most emotional and powerful moment in this wonderful film. We're taken back to Harvey sitting at his kitchen table, reflecting on his life and preparing for the worst. "Life's not worth living without hope," he tells us. "You gotta give them hope." More reviews: rottentomatoes.com/vine/journal_view.php?journalid=219276&view=public

The Graduate (1967)

One of cinema's greatest coming of age tales

[10/10 · 29 July 2008]

What makes a movie great? Is it a timeless appeal, continued relevance year after year after year? Is it iconic performances, forever immortalized on screen? Or is it that feeling we get, a realization that we're watching something very special? 'The Graduate' falls under any one of these categories and much more. It was released in 1967 but could pass as a film made forty years later, eloquently tackling the troubles and frustration of young adulthood.

There's a subtle and tactful atmosphere that surrounds 'The Graduate', a film not always ripe with words and talk but heavy and thick with emotion and unease. Dustin Hoffman so perfectly captures the 'what now?' feeling about the game of life, an undeniably intelligent young man but with no sense of direction, no sense of meaning. It's a state of mind many of us, if not all of us, can relate to strikingly well. His character is fascinatingly complex, standing alone at one of life's many crossroads with confusion, desperation, anger, and loneliness. The dreamlike sequence before Hoffman's first sexual encounter with Mrs. Robinson is absolutely stunning and powerful, a visionary moment that speaks profoundly.

It's Anne Bancroft who steals the show with her enticingly sultry turn as Mrs. Robinson, Hoffman's seductress at least twice his age. Her sensuous elegance, the dangerous game of risk. She captures Hoffman in the palm of her hand, but beneath the surface, there's a lifetime of hurt and loneliness. A hole that can't be filled by physical pleasures, no matter how hard she tries. We feel for her, but at the same time, we hate her. Does all the blame rest squarely on her shoulders? No, it takes two to tango. But she plays her devilish hand with a shrewd nastiness that makes 'The Graduate' such a compelling picture.

Mike Nichols created his masterpiece with 'The Graduate', a phenomenal effort riddled with comedy, drama, romance, heartbreak, and an ending that touches the perfect note. The film's execution is precise and genius, while Simon and Garfunkel's legendary soundtrack launches 'The Graduate' into cinematic immortality. It captures a feeling that resonated so well with younger audiences back in the 60s, and it's still working its magic to this day. Here's to you, Mrs. Robinson. And thanks for a great film.

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Metropolis (1927)

Legendary and Influential 80 Years Later

[9/10 · 27 July 2008]

To sum up 'Metropolis' in the best way I know how, it was years ahead of its time. A visually stunning film with a haunting vision of the future, Fritz Lang's silent masterpiece is still a fascinating and thought-provoking motion picture more than 80 years after its release. It is when those faced with the limitations of cinema did the best creative minds emerge, and Lang was certainly able to channel German Expressionism to create a beautiful and expertly crafted work of art.

Released in 1926 and set 100 years in the future, 'Metropolis' paints a dark picture where the privileged live above ground in a bustling city filled with gorgeous skyscrapers. But it is those who helped build the city and continue to operate it who live in an underground city absent of the wealth and abundant extravagance. A cataclysmic revolution threatens when a young man, son of the city's leader, ventures below ground in search of a woman and instead witnesses the oppression that smothers the workers.

'Metropolis' warns us of a society where science and technology becomes the reigning rule of thumb, when the distinctions between man and machine are practically indistinguishable. A cautionary tale we've heard many times before, but perhaps never with such compelling originality and emotional impact. A machine that systematically devours its overworked and exhausted crew, a powerful retelling of Babel, an angry mob that put's the city's future at stake. Profound moments in an influential and mesmerizing film, 'Metropolis' intoxicates the imagination and makes for a viewing experience like none other.

In an age without CGI and green screens, you'd be amazed by all that 'Metropolis' is able to accomplish with simple tricks of the camera and a little artistic flair. Outdated by today's standards, but truly evocative and breathtaking. And with the recent discovery of missing footage (more than an hour's footage was lost, making 'Metropolis' unfortunately fragmented), the world will soon have the chance to see Lang's completed masterwork for the first time since its original release. But as it stands, it's difficult to deny the influence 'Metropolis' has had on film today. A futuristic nightmare that so convincingly blurs the lines between truth and fable.

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Memento (2000)

Deeply compelling, Brilliantly rich

[10/10 · 27 July 2008]

Mind-bending. Time-altering. Disorienting. Christopher Nolan's 'Memento' is a dark and bleak experience, an ingenious picture that stares into the soul of a man filled with vengeance and anger. A movie that begs to be seen more than once, 'Memento' is as confusing as it is thoughtful, as bizarre as it is brilliant. An engrossing story that pulls us into the driver's seat and never takes its foot off the gas, this is modern film-making at its best. And once again, Nolan proves why he is one of the best filmmakers of our time.

'Memento' doesn't wait to build the tension before showing us what ultimately happens in the end. It's how the movies begins. The fragmented storytelling keeps the film a perplexing mystery, we see what Guy Pearce sees, one confusing episode after another. It keeps us on the edge of our seat, certain of how everything is wrapped up but without any knowledge of the twists and turns that bring us to this very unsettling circumstance. Christopher Nolan's inspired vision is impeccable, but it is Dody Dorn's editing that makes 'Memento' the non-linear masterpiece that it is instead of one jumbled piece of incoherence.

Guy Pearce finds himself in a wonderfully complex role, a haunted man who has many different layers but can't retain short-term memory for more than a few minutes. He delivers a brilliant performance, and most importantly, makes it absolutely believable. Carrie-Anne Moss and Joe Pantoliano turn in great supporting roles as their own characters have secrets that unravel before our eyes. 'Memento' is often a frustrating viewing experience, but a mind-blowing one at that. You can't possibly pick up on all the subtleties and details during a single sitting, which makes 'Memento' a rich and rewarding movie many times through.

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Cruel Intentions (1999)

Lavish but Limp

[5/10 · 27 July 2008]

'Cruel Intentions' has guilty pleasure written all over it. Sure it's tacky, sure it's tasteless, but damn is it fun to watch. Its sultry cynicism is difficult to resist, and for what it is, Roger Kumble will keep your attention as he keeps the motors turning and the film chugging along. It's breezy entertainment, and though it had potential, 'Cruel Intentions' eventually settles for something slightly less memorable.

'Cruel Intentions' does start out with promise, the dark layers of comedy are sinfully sweet and wildly entertaining to watch. It's never believable in the slightest, but the over-the-top cinematics is just enough to make for great late-night fare. Ryan Phillippe's quest to take Reese Witherspoon's virginity, Sarah Michelle Gellar's efforts to corrupt Selma Blair. All in a days work for these two step-siblings apparently, who also happen to share intimate interests in each other.

Unfortunately, 'Cruel Intentions' is also riddled with too many flaws that aren't as easy to forgive. Roger Kumble receives both writing and directing credits here, and his efforts are mediocre at best. The script is as stiff as an oak tree, and the dialogue forces a mostly talented cast to turn in horrid performances. Phillippe and Witherspoon have the desired screen presence, but even they can't make 'Cruel Intentions' any more convincing than it is.

Ultimately, what begins as an audacious and sexy thriller unravels into a much more predictable and dull romance. As it goes through the motions, we care less and less. It ends with a bang, but there's nothing one can really take away from a film like this. It throws morals out the window, and a devilish atmosphere makes 'Cruel Intentions' maliciously entertaining for a while. Rich white kids doing awful things to each other probably comes off sounding better on paper than on film, but it's not a total disaster. A lavish but limp picture.

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