Sleepers (1996)

Four friends growing up in New York in the 1960s end up in a youth detention centre, where they are brutalised by the staff. We then meet them again, 13 years later, in 1981, and find out how those harrowing experiences have defined every aspect of their adult lives. 

The first half is compelling. Director Barry Levinson brilliantly sets the scene and evokes both time and place perfectly. But in the second half, the film seems to lose its way. A lengthy courtroom segment takes the focus away from the themes of friendship and community that initially made the film so watchable. And something about that plot – the convoluted account of a faked legal hearing – just doesn’t ring true. 

The cast is excellent, with memorable performances by Robert De Niro (reliably brilliant as a priest who befriends the boys), Minnie Driver (who falls in love with three of them), Dustin Hoffman (an alcoholic lawyer) and Kevin Bacon (one of the abusive staff at the Wilkinson Home for Boys). Brad Pitt is less convincing as the grown-up version of Michael Sullivan. 

There’s overbearing music by John Williams. 

The film is often disturbing, as you’d imagine from the subject matter – and all the more so because the 1995 novel it’s drawn from (by Lorenzo Carcaterra) is semi-autobiographical. It makes some profound points about how cruelty shapes and damages us, but somehow it still misses the mark.

An Ideal Husband (1999)

Charming and entertaining adaptation of Oscar Wilde’s 1895 play starring Rupert Everett, Jeremy Northam, Cate Blanchett, Julianne Moore and Minnie Driver. With source material and actors that strong it would be difficult to go wrong, and sure enough director Oliver Parker makes the most of both. 

Moore is especially good as the scheming Laura Cheveley, intent on blackmailing a government minister. Driver is appealing as Mabel Chiltern, although for some reason she seems too “modern” to fit into the era that was being evoked. Everett gets it just about right, pitching his character somewhere between affable buffoon and trusty good sort.

It’s wittily and nimbly constructed. It works both as a piece of lighthearted froth and as a fairly engaging study of human nature in its various forms.

Return to Me (2000)

Chicago architect Bob Rueland (David Duchovny) loses his wife (Joely Richardson) in a car accident. Her heart is donated to an artist named Grace (Minnie Driver), who would otherwise have died. A year later, Bob and Grace meet by coincidence, and – without realising what connects them – begin to fall in love. 

It’s a strange film – not quite a rom-com and not really a drama, either. There are too many extra characters of little consequence. For example, Grace lives with her Irish grandfather (Carroll O’Connor), who owns an Italian restaurant and socialises with his friends. There’s quite a bit of these elderly men sitting around playing cards and talking about Frank Sinatra or Dean Martin. We also get to see a lot of Grace’s friend Megan (Bonnie Hunt, who also directed) spending time with her husband (James Belushi) and their children. There’s also too much about Bob’s dog (and even the boy who helps look after Bob’s dog). Plus, there are threads about painting, gardening and antique bicycles. A further dimension comes from the gorilla sanctuary that Bob’s wife worked at and which he helps to expand and redevelop to honour her life’s work. 

All of these bitty elements don’t add up to much. But when Duchovny and Driver are on screen together, it works. You just wish they had been allowed more screen time as a couple, and with less of the unfunny silliness that surrounds them.

Grosse Pointe Blank (1997)

Extremely sophisticated comedy-drama. John Cusack plays a paid assassin who returns to his hometown to attend a school reunion and to meet up with the girlfriend (Minnie Driver) he abandoned a decade previously. When old friends and colleagues ask what he does for a living, he tells them he’s a professional killer and they think he’s joking. But he is finally maturing and beginning to question his “moral flexibility” – despite having one more job to do. Meanwhile, a rival assassin played by Dan Akyroyd intends to finish him off.

The humour is of the very blackest sort and the film balances the laughs and the tension with such expertise that it works. Supporting characters such as his terrified therapist Dr. Oatman (Alan Arkin) and his assistant Marcella (John’s sister, Joan Cusack) add further depth and wit.

Original music is by Joe Strummer and there’s also an excellent 1980s indie-pop soundtrack (Specials, Siouxsie & The Banshees, Echo & The Bunnymen, The Cure) in line with the “reunion” theme.

Hugely entertaining, and it makes you think too.