Directed by Gabriele Salvatores, it’s a powerful drama and the performances are remarkable. Giuseppe Cristiano is incredibly believable, with none of the self consciousness that often affects child actors. The little girl who plays his sweet younger sister, is also fantastic.
Ultimately it’s an extremely sad film about poverty and its effects on a community.
It’s slow and the thin plot doesn’t warrant the extended 139-minute running time. Costner proves the general rule that actors cannot direct (the only exceptions being Clint Eastwood and Woody Allen). He has little sense of moving things along or building character. Instead, it’s like a fifth-rate homage to Butch Cassidy and the Sundance Kid.
The one saving grace is Annette Bening as the doctor’s sister.
A free-thinking art teacher named Katherine Watson (Julia Roberts) starts working at a private school where women are trained to be good wives who will obey their husbands. Watson encourages them to think beyond those boundaries and question the roles that have been selected for them.
It’s nearly brilliant. The four main students are excellently played by Kirsten Dunst, Maggie Gyllenhaal, Julia Stiles and Ginnifer Goodwin. Roberts is somehow less convincing – a rather po-faced character, drawn in the broadest strokes. Also, Roberts somehow seems like she’s from the 1990s rather than the 1950s, so you can never quite believe in her. It’s almost like a time travel film in which she’s a social visionary from the future who comes to enlighten the girls of the past.
The film makes lots of points about social roles but it’s just too simplistic to carry any real weight. Instead, it ends up being a rather wishy-washy compromise about doing what’s right and following your heart.
Tori Amos has a cameo as a wedding singer. Juliet Stevenson has an intriguing role as a rebellious lesbian, but she’s cast out of the school and the film too early.
Samuel Jones (Tommy Lee Jones) tries to reconcile with his estranged daughter Maggie (Cate Blanchett), who resists his efforts. But when Maggie’s daughter is abducted, she allows her father to help her rescue the girl.
The main two leads are excellent, with a degree of chemistry, and the scenery looks stunning. But it could’ve been better. It’s workmanlike where it should have sparkled. Long, too. It dabbles with a watered-down mysticism but doesn’t really deliver on that front. Also, the main villain is comical and silly rather than terrifying and the ending seems oddly abrupt. The alternative endings on the DVD make more sense, suggesting that something went a little askew in the edit.
The plot is a little tricky to explain, but here goes... Rankin Fitch (Gene Hackman) is a consultant who gets paid off to rig juries in court cases. Wendell Rohr (Dustin Hoffman) is a morally upstanding lawyer who believes in truth, justice, decency and so on. The two men are pitted against each other during a trial against a gun manufacturer following an office shooting. But one of the jurors (John Cusack) and his girlfriend (Rachel Weisz) appear to hold all the cards about the real outcome of the court ruling. And, inevitably, nothing is quite what it seems.
It ought to work, and it very nearly does, but you are deliberately left in the dark about Cusack and Weisz’s real motivations until about 10 minutes before the end. By the time everything suddenly makes sense, you feel a little cheated that the film did so little to guide you through the various twists of the plot. Plus, their relationship isn’t fully explored. When we first meet them they appear not to know each other, but then it transpires that they’ve known each other for years. So were they pretending to be strangers as part of the scam? If so, why, when they were merely talking in an empty candle shop and this had nothing to do with manipulating the court case? If there was an explanatory cue here, it wasn’t clear enough.
All four of the leads are good, if not exactly stretched in the acting department, but there’s still something missing. Plus, Hackman’s hi-tech centre of operations – a flashy surveillance crime hide-out that no one seems to know about – is almost as implausible as the elaborate dens of villains in the 1960s Batman TV series.
David Gale (Kevin Spacey) plays a university professor and anti-capital punishment campaigner who finds himself on death row. A journalist improbably called Bitsey Bloom (Kate Winslet) is sent to meet him and conduct his final interviews. Through their conversations, she begins to unravel what really happened in the crime he is accused of. We see those events unfold in flashback.
It’s a tense and exciting story that’s slightly spoiled by the last five minutes, which offers one unlikely twist too many. As soon as you start asking questions about the plot logic, it collapses.
Spacey and Winslet are both excellent, as is Laura Linney as Gale’s friend and colleague.
The film makes some good points about the evils of capital punishment, although you can’t help thinking that those points would be stronger still without the final twist. A simpler, more believable plot would have worked so much better.
The plot interweaves the lives of several characters, told with extensive flashbacks. The mixed-up chronology can be challenging – it might have worked better in linear sequence – but the material is harrowing in any order. The relentlessly dark subject matter includes alcoholism, drug addiction, bereavement, born-again religion, relationship separation and terrible psychological anguish.
Del Toro, Penn and Watts are all excellent, tackling extremely difficult scenes. It’s searing, gut-wrenching storytelling that is quite painful to watch.
It’s visually striking, too. The colour and graininess of the film changes with the mood and tone of the events, but overall there’s very little lightness or hope offered.
Truly excellent drama set during the US civil war. It’s a war film, a love story and a historical epic.
When the war breaks out, the quiet, inarticulate Inman (Jude Law) is one of the young men from North Carolina who has to fight with the Confederate army. But he has just fallen for Ada (Nicole Kidman), the daughter of the preacher (Donald Sutherland), and has to leave her – just as their relationship is beginning. Injured in battle, he attempts to make his way back home to Ada while being hunted for deserting.
All of the leads are on excellent form. Renée Zellweger plays Ruby, a plucky free spirit who helps Ada salvage her farm and her self-respect. Philip Seymour Hoffman is a crooked preacher. Natalie Portman is a widowed mother. There are also parts for Jack White, Ray Winstone, Brendan Gleeson and Cillian Murphy.
It’s an emotional and affecting work that avoids cliché, especially since the romance is unconventional to begin with. The couple barely know each other, but their connection is overwhelmingly powerful. As a result, the film is too.
It’s ridiculously epic in terms of length (over three hours) and narrative scope (action across multiple kingdoms). There’s a more emotional aspect, too, making this the strongest of the three films.
As before there’s plenty of soaring choral music and once again it’s probably best not to ask too many questions about the rules behind when, where and how the “magic” can be applied.
I would have liked a better resolution of the plot thread about Éowyn (Miranda Otto) and her love for Aragorn (Viggo Mortensen), who goes off with the elf lady played by Liv Tyler, but the film was long enough already.
The most striking aspect is that it’s extremely unusual to see a film about hetrosexual male love. But if nothing else, this is a study of exactly that. The tender, selflessly generous understanding between Sam (Sean Astin) and Frodo (Elijah Wood) is explored with real sensitivity. It ends up being hugely touching, despite all my cynicism.
It’s a sweet and sensitive drama that manages to be poignant and often hilarious.
It makes serious political points about nationality, family and the changing times, but in a gentle way that never feels dull or worthy. At its heart is an examination of Alex's relationships – with his mother, his girlfriend and his sister, but also with his father and his country.
Thriller about a group of con artists (led by Edward Burns) who get mixed up with a creepy crime boss called The King (Dustin Hoffman) and plan an elaborate banking scam.
James Foley’s direction is flashy and a little tricksy, but the story – although complex – is a good one. Also, the acting is uniformly strong. Paul Giamatti and Rachel Weisz are both effective as members of the con team, while Andy García is convincing-but-underused as Special Agent Gunther Butan.
The plotting can be difficult to keep up with, but it just about holds together if you don’t ask too many “But what if…” questions about timing and motivation.
It was also baffling that the same song (“Love Is All Around”) had to be revived from an earlier Richard Curtis film: Four Weddings and a Funeral. Maybe it was a self-referential joke, but couldn't they just have come up with another love song? There’s no shortage.
I admire the ambition, and there were some genuinely funny moments, but it ended up being a sprawling mess. Woody Allen could have done much more with the raw material and handled the complex storytelling with greater skill.
Three Boston-based childhood friends are reunited in unhappy circumstances. They discover how the events of their youth have shaped their lives and relationships, and continue to do so as events play out in the present day.
Sean Penn is the gangster-like Jimmy Markum. Tim Robbins is Dave Boyle, who has become a damaged, haunted man after being abused as a child and now finds himself the prime suspect in the killing of Jimmy’s daughter. Meanwhile, Kevin Bacon is a detective named Sean Devine (assisted by a further detective played by Laurence Fishburne).
The performances are hugely credible, leading to an unbearably tense couple of hours as this painful human tragedy plays out.
Harry Sanborn (Jack Nicholson) is a womaniser in his sixties who only dates women half his age. Then he meets his girlfriend’s mother, the successful playwright Erica Barry (Diane Keaton), and discovers a deeper connection that surprises him.
Keanu Reeves is passable but underdeveloped as the doctor who also falls for Keaton. Frances McDormand is oddly underused as Keaton’s sister. And Amanda Peet is the weak link as Keaton’s daughter, with a narrative arc that’s all over the place. For example, she’s distraught to learn that her father (Paul Michael Glaser) intends to remarry, but then this is never mentioned again. Indeed, Glaser’s character seems to have been pretty much edited out of the film – or never written into it in the first place.
In some ways it’s as formulaic as its title, with daft slapstick and several improbable moments. But Nicholson and Keaton are such pros at this kind of thing that they make the most of the flimsy material and it ends up being highly watchable.
Pierre Brossard (Michael Caine) was a Nazi collaborator, and has been at large in France for nearly 50 years. He has been protected by loyal Catholics and others, but when a lawyer (Tilda Swinton) and a colonel in the National Gendarmerie (Jeremy Northam) start to pursue him he’s forced to take more extreme measures.
Caine is absolutely excellent as a man plagued by guilt and wracked with psychic pain, yet someone who is also still a self-interested racist bigot. I could totally believe his character as he lurches – with his fervent faith and his heart problems – from one crisis to another.
The narrative works well, with some fairly dramatic moments. The only unsatisfying element is that it’s never quite explained why so many people go to such lengths to defend the indefensible. Yes, the various priests were worried that their own crimes might be revealed, but how does that apply in a wider sense? It seems like there’s a joined-up conspiracy to protect him, involving the Church, members of the police force and government officials, some of whom have little connection to the events of 1944.
The diverse cast also includes Alan Bates, Ciarán Hinds, John Neville and Charlotte Rampling.
For a direct-to-video thriller, it’s pretty good. The two Michaels both deliver to a reasonable standard. There’s drama and tension, and the plot offers a few surprises. Caine seems underused, but his increased presence in the final quarter adds humour and depth to proceedings.
Kathleen Wilhoite is strong as Keaton’s pregnant PA. On the down side, the villains weren’t given much in the way of character.
I was hooked throughout, even if there were occasions when it was necessary not to ask too many questions of the plot.
There are too many actors. None of them have much to do but they all look a little too pleased with themselves for being in a film with Bob Dylan. As usual, John Goodman plays an annoying fat crook. I find him unbearable – exactly the same persona in every role. Jeff Bridges plays a journalist and Penélope Cruz is his strange girlfriend. These characters have the annoying names Uncle Sweetheart, Tom Friend and Pagan Lace.
The all-star cast also includes Jessica Lange, Luke Wilson, Val Kilmer, Chris Penn, Mickey Rourke and Christian Slater. It’s remarkable that you end up not caring about a single character, as none of them are remotely developed. They are all merely mouthpieces for self-consciously cryptic speeches and pseudo-profound utterances that add up to very little. Even Bob Dylan gets annoying, and he was the only reason I watched the film. Yes, he’s enigmatic and charismatic – he can’t be anything else – but nothing is ever done with those qualities.
The music is the most interesting element: Dylan performs a few songs “live” within the film and every other song featured on the soundtrack was written by him but performed by another musician.
The political angle is another missed opportunity. We learn that totalitarianism is bad.
I found it difficult to get to the end, but I ploughed on out of misplaced loyalty to Bob.
Corbin Allred is compelling as the shellshocked, sleep-deprived soldier kept going by faith alone. What makes the film more intriguing is learning that it was funded (and even acted) by members of the Church of Latter-day Saints (a.k.a. the Mormons) in order to put across their message. Impressively, it does this without that message becoming overbearing. Plus, the basic idea that belief in God will help you through dire situations doesn’t tie it to any one religion. It could just as well be promoting Catholicism or C of E Christianity.
Two things reduce the impact a little. Firstly, the excessive use of colour filters becomes distracting – especially when the greyish tones turn to a sepia shade and then back again. Secondly, the Englishman (awkwardly played by an American, Kirby Heyborne) has a silly accent and his slightly shifty, antagonistic manner is never explained. Why not give him a personality that they (and we, the audience) could relate to?
Those points aside, there’s plenty of dramatic tension and the character development between the four main soldiers is entirely believable. The winter storms look convincingly cold and the bleak, barely survivable conditions are expertly evoked.
The film is poignant and touching. There are glimmers of romance between the pair, but it’s to the film’s huge credit that it resists that obvious option and instead focuses on the two characters and their far less predictable kind of relationship. Murray and Johansson each give the performance of a lifetime, perfectly handling the empathy and restraint evident in the sensitive script.
Coppola creates a strange and lovely atmosphere, understanding that what goes unsaid can be more potent than the words actually uttered, and each successive scene builds upon that. By the end, you feel profoundly engaged with these characters in a way that doesn’t usually happen when you watch a film.
There are too many perfect scenes to mention, but my favourite is the karaoke episode. Charlotte sings “Brass in Pocket” (The Pretenders) and Bob sings “More Than This” (Roxy Music). In each case, they seem to be using the song to communicate something to each other.
A really special film. One of the very best.
