The Skinny

A powerful recounting of the 1993 U.S. military operation in Somalia in which two black hawk helicopters are shot down over the hostile city of Mogadishu

The Bottom Line

This is truly a “must see” film, even for the squeamish

The Full Review

While Black Hawk Down may not be the best American film of the year; it is certainly the most important one. Unfortunately, many people will avoid seeing this film for the very reason they should see it. Adapted from Mark Bowden’s best selling book of the same name, Black Hawk Down tells of the fateful military operation in Mogadishu, Somalia in October 1993 that resulted in the death of 18 U.S. soldiers (estimates of Somali fighters killed number as much as 1,000). What was intended to be a “routine” Special Forces operation to extricate the genocidal warlord Mohammed Farrah Aidid, turned out to be (or at least was perceived to be) a disastrous episode for the U.S. military that had wide-ranging implications for U.S. foreign policy for the remainder of the decade.

Director Ridley Scott‘s quasi-documentary approach to shooting the film lands the viewer directly in the middle of the action. The violence is relentless and for a punishing 90 minutes the audience has no place to hide. To suggest that an hour and a half of discomfort in a movie theater could offer even a taste of the true chaotic terror that those American soldiers endured for 15 straight hours would be laughable. But, it would be nearly impossible for those who choose to see Black Hawk Down (perhaps most for those normally too squeamish to see such a film) to leave the theater without having a greater appreciation and empathy for the young men and women who put their lives on the line each day protecting U.S. security interests (and do so whether they agree or disagree with U.S. involvement in any particular military action).

The film does not pretend that these soldiers were without flaws. It is made clear that seemingly minor mistakes by several of the soldiers could have, and in some cases did, lead to dire consequences. This somehow makes these soldiers and all that happened to them seem more real and perhaps allows us to believe the film’s lead character, played by Josh Hartnett, when, at the film’s end, he says, “Nobody asks to be a hero. It just sometimes turns out that way.”

Highlights

Strong direction from Ridley Scott
Terrific cinematography from Slavomir Idziak and production design by Arthur Max
Strong cast (although the strength of the cast was relatively unimportant in this film)

Lowlights

One unnecessarily manipulative scene in which a soldier attempts to reach his wife at home by phone just before leaving for the military operation. The wife is scene entering the house as the soldier’s voice is heard completing his loving message on the answering machine (guess what happens to him).
May view some of the dialogue as a bit too preachy

Other Info

Nudity: None
Violence: Significant – some extremely graphic
Humor: Very little
Buy the best-selling book from Amazon.com

The Skinny

A romantic comedy of a different kind about a shy young woman in Paris who seeks happiness by helping others

The Bottom Line

Truly uplifting and worthy of a best picture nomination (at least out of the films released thus far

The Full Review

Having grossed well in excess of $100 million at the box office, last year’s Crouching Tiger, Hidden Dragon became the first foreign film to reach true blockbuster status in America. Certainly, the dazzling martial arts choreography and special effects helped extend the appeal of that film beyond what might have otherwise been a traditional foreign-film audience. Nevertheless, the overwhelming success of Crouching Tiger did open up at least the possibility that future subtitled films could expand their U.S. run beyond the confines of the art-house circuit

This year’s foreign film du jour is, for good reason, shaping up to be Le Fabuleux destin d’Amélie Poulain, also know as Amélie From Montmarte, also know as Amélie. Written and directed by Jean-Pierre Jeunet, Amélie tells the story of Amélie Poulain, a timid young woman, whose vivid imagination and ability to find comfort in life’s simple pleasures enable her to endure an otherwise listless existence. The part of Amélie is played to perfection by 23-year old Audrey Tatou, who, at least physically, can be described as a cross between Audrey Hepburn and Juliette Binoche.

The film opens with a series of quirky and highly amusing vignettes set during Amélie’s childhood. Through these vignettes, the audience learns a great deal about Amélie and the things that shaped her during the early part of her life. We learn, for example, that the only time Amélie’s father would make physical contact with the young child is during her monthly doctor checkups. In those few occurrences, the exceptional closeness makes Amélie’s heart pump extraordinarily fast, which her father foolishly interprets as a cardiac abnormality. As a result, Amélie’s parents become highly overprotective, sheltering the young girl from nearly everything in life.

As a grown woman, while Amélie is able to find joy from such small things as cracking the crust of a crème brulèe with the back of her teaspoon, sinking her hand into a sack of grain, and skipping stones on a canal, her life is without true happiness. Things begin to change, however, when Amélie discovers a “memory box” left behind by a boy who had lived in her apartment many years before. Upon returning the box to its owner, Amélie is so deeply touched by the man’s reaction that she views this newfound ability to make a difference in other people’s lives as her true calling. Among the other people whose lives Amélie ultimately seeks to straighten out are Dufayel, an old man whose congenital illness has kept him from leaving his home for the past 20 years, Lucien, who works for a contemptible grocer that takes pleasure in humiliating others, and Georgette, a hypochondriac co-worker of Amélie’s. But, it isn’t until Amélie comes across a young man named Nino (he collects photo booth strips and works as a part-time cashier at a porn shop) that she begins to realize the one person she really needs to help is herself.

Highlights

The opening vignettes
The acting – Audrey Tatou, Serge Merlin (Dufayel) and Mathieu Kassovitz (Nino)
The screenplay – Guillaume Laurant
The music – Yann Tiersen

Lowlights

None really, although some have felt the film was a bit long; and
A friend mentioned that some may find the quirkier scenes in the film (i.e. Amélie melting into a puddle of water) too reminiscent of “Ally McBeal.” I felt that Jeunet was able to pull these scenes off quite effectively.

Other Info

Nudity: None
Violence: None
Humor: Many humorous scenes
Amélie on IMDB

The Skinny

Danny Aiello stars in this successful melding of “food films” and “gangster movies”

The Bottom Line

Come and get it!

The Full Review

Having all but fasted through the parade of dreadful movies served up by Hollywood this summer, the onset of the fall film season has my mouth watering. Perhaps that offers at least a partial explanation as to why I found the new indie film Dinner Rush to be so utterly enjoyable. Like a tasty appetizer that stimulates your taste buds in preparation for the main course, this tiny, character-driven film will more than whet your appetite for the feast that the upcoming months at the movies is certain to be.

Dinner Rush stars Danny Aiello as Louie Cropa, a longtime restaurateur whose TriBeCa restaurant, Gigino, has become a New York hotspot thanks to its star chef, Louie’s son, Udo Cropa (Edoardo Ballerini). Despite the success of his business, Louie is less than thrilled that his traditional Italian restaurant has been transformed into a destination where getting the right table is more important than getting the right dish. During what turns out to be one of Gigino’s busiest nights yet, a series of loosely connected mini stories unfold, each of which provides unique insight into the many fascinating characters that come to life in this film.

Udo believes the long lines at the door and the accolades he has won from food critics entitle him to take over control of the restaurant from his father. Yet, Louie feels differently (at least with regards to the entitlement part) and expresses this in a somewhat defiant manner by allowing only the sous chef, Duncan (Kirk Acevedo), to prepare his meals rather than his own son. But Duncan, who is looked upon by Louie as almost a second son, is not without his own problems. A slight gambling habit has landed him many thousands of dollars in debt to an unscrupulous gangster from Queens, played to perfection by Mike McGlone (The Brothers McMullen, The Bone Collector), who is looking to use the opportunity to force Louie into selling him the restaurant. Meanwhile, in one of the film’s more amusing story lines, a thick-skinned waitress named Marti (Summer Phoenix), must spend the evening at the beck and call of a self-important art dealer named Nino Fitzgerald (Mark Margolis). Much to Marti’s chagrin, Fitzgerald seems intent on impressing his entourage by continuously slinging acerbic sarcasm in the direction of the wait staff. Among the familiar faces that you will recognize in Dinner Rush are John Corbett of Sex and the City, who plays a Wall Street banker looking for a quick drink after work, as well as Sandra Bernhard, who plays a fussy restaurant critic with the hots for Udo.

While much of the acting in Dinner Rush must be commended, it is the terrific direction by Bob Giraldi and the delectable screenplay by Brian Katala and Rick Shaughnessy that truly make this film the joy that it is. Giraldi has built an illustrious career as an award winning director of television commercials and music videos (most notably Michael Jackson’s “Beat It”) and, by so adeptly capturing the frenzy behind the scenes at a restaurant, has now demonstrated that those talents extend to the big screen. And, at a time when it seems that dialogue is at best a placeholder in much of the big-studio schlock passed off as legitimate film, it is a rare treat to have Katala and Shaughnessy provide us with a clever script in which the words speak louder than action.

Highlights

Many great scenes that demonstrate the managed chaos in the kitchen
the back and forth between Fitzgerald and Marti
An entertaining game of stump the bartender that plays out throughout the evening
Strong acting
Strong screenplay
Strong directing

Lowlights

None to speak of

Other Info

Nudity: None
Violence: A few scenes
Humor: Many humorous scenes

The Skinny

A blonde sorority girl is dumped by her boyfriend and then decides to follow him to law school to win him back

The Bottom Line

Reese Witherspoon’s charm will win you over, even if the script doesn’t quite hold up

The Full Review

Several years ago, while flipping though cable channels late one night I settled upon a movie called Freeway about a teenage girl who, after her car had broken down, had unknowingly gotten picked up by a serial killer played by Kiefer Sutherland. What kept from changing channels was the terrific performance by the charismatic young lead actress, who I would later learn was named Reese Witherspoon.

In subsequent years, Ms. Witherspoon has been busy building one of the more diverse film careers of any of the young actors today. While she has appeared in such standard teen fare as Overnight Delivery and Cruel Intentions, she has also demonstrated a willingness to veer from the pack as with her roles in Pleasantville, American Psycho and Election, perhaps the smartest comedy and one of the most underrated films of 1999.

In her latest film, Legally Blonde, Reese pours on the charm as Elle Woods, a blonde sorority queen who applies to Harvard Law School in a desperate attempt to convince her boyfriend that she is the “right type of girl” for him. Although screenwriter Karen McCullah Lutz’s silly script is engaging enough to keep the audience from wishing they had rented Clueless for the hundredth time instead of running out to see this movie, it is Reese Witherspoon’s hilarious performance that makes it truly worth their while. Elle lives her life freely guided by the pages of women’s fashion magazines. She is Cosmo girl incarnate. And while this has earned Elle the admiration of her sorority sisters, beyond the confines of her LA college campus this glossy exterior is easily mistaken for simple mindedness and naiveté. But Elle is as smart as they come and her supreme self-confidence leaves her virtually immune to the scorn and ridicule cast upon her as she attempts to carry out the zany plan to win back the man of her dreams.

In addition to Reese Witherspoon’s irresistible performance, Luke Wilson (Charlie’s Angels, Rushmore, Home Fries) is fine as a Harvard professor’s associate who is among the few to “believe” in Elle. Ali Larter (Final Destination, Varsity Blues) is well cast as a “trophy wife” suspected of murdering her husband. And veteran actors Victor Garber (Titanic, Alias) and Holland Taylor (The Truman Show, To Die For) add a bit of gravitas to the film in their roles as Harvard professors. On the other hand, Selma Blair (Cruel Intentions, Down to You) is utterly lifeless (even if somewhat intentionally) in her role as Elle’s bitchy adversary at Harvard.

Highlights

Some highly amusing scenes at Elle’s Delta Nu sorority house, which could double as a Fun House ride at the Cosmo amusement park.
Ditto for the scenes when Elle first enters Harvard law – particularly notable are several hysterical classroom scenes
A scene in which the stuffy Harvard admissions board view a stylish and comical video that Elle produced and submitted as her personal essay
A brief, but nonetheless highly entertaining, exchange between Elle and her parents regarding Elle’s decision to apply to law school.

Lowlights

The superfluous pet dog that accompanies Elle nearly everywhere she goes
A ridiculous, out of place and entirely unfunny dance number that takes place in a nail salon that Elle frequents.

Other Info

Nudity: None
Violence: None
Humor: Plenty

A man, suffering from short-term memory loss, uses notes and tattoos to hunt down his wife’s killer.

The Bottom Line

The intelligent and gripping screenplay and strong cast make this the first “must see” film of 2001.

The Full Review

Leonard Shelby ‘s wife passed away some time ago. Actually, she was murdered. And there’s nothing Leonard can do to ease the pain of this horrific loss. You see, Leonard suffers from this condition in which he is unable to create new memories (the result of having received a severe blow to the head the night of his wife’s murder). Every morning he awakens feeling as if it were the day his wife was murdered. For Leonard, there is no passage of time to heal his pain. Leonard can’t remember to forget.

Leonard Shelby, played to perfection by Guy Pearce (Rules of Engagement, L.A. Confidential), is the central character in a stirring new film called Memento, written and directed by Christopher Nolan. A man who often forgets why he started saying something before he’s finished saying it can only get through life by giving himself a tremendous sense of purpose. For Leonard, this sense of purpose comes in the form of hunting down and killing the man who raped and murdered his wife and left him a victim of severe anterograde memory dysfunction. But what good is purpose, even vengeance, without the proper tools to help one navigate from one moment to the next? Thus, Leonard is forced to compensate for his deficiencies by furiously scribbling notes on scraps of paper, shooting polaroids of people and places he has come across, and tatooing across his body information that is most critical to him (if only poor Leonard had a Palm Pilot).

In one of the most creative and effective uses of non-linear story telling ever in a film (at least that I’ve encountered), Nolan begins Memento at the story’s end and uses the following two hours to bring the audience back and forth through time, ending the film at the story’s beginning. The resulting effect is that the audience is placed in a similar frame of reference to that of Leonard. As each scene unfolds, the audience knows only that things are happening around Leonard, but not exactly why they are happening (clues hidden in the notes and photos shed only the slightest bit of light on the situation at hand). The audience is made acutely aware of just how frustrating Leonard’s condition can be and how helpless it can leave him feeling.

But, Leonard is not alone in his quest to find the elusive “John G____,” the man who murdered his wife. There’s Sammy Jenkis, played by Stephen Tobolowsky (The Insider, Groundhog Day – Ned Ryerson). Sammy is man who Leonard met prior to his wife’s murder when he was working as an insurance investigator (Leonard maintains all of the memories that formed prior to his accident). Sammy, it seems, also suffers from anterograde memory dysfunction. Only, Sammy was never able to get control of it the way Leonard has. Sammy had no purpose in life. He had nothing driving him forward. So everything fell apart for Sammy. Leonard uses his memory of Sammy to keep from slipping into the abyss.

Along the way, we also discover that Leonard has somehow befriended a guy named Teddy, played by Joe Pantoliano (The Sopranos, Risky Business – Guido), and a woman named Natalie, played by Carrie-Anne Moss (Chocolat, The Matrix). Both Teddy and Natalie, who must constantly reintroduce themselves to Leonard, act as if they are trying to help him. Armed only with the notes Leonard has scribbled on the polaroids of these two people, it is apparent that we can trust Natalie and that we cannot trust Teddy. If only we could remember…uhr..uhm…if only we knew the real reason why.

All of this adds up to an entirely compelling story, and one that truly keeps audiences on the edge of their seats for the entire duration of the film. In short, this is one film you will not soon forget!

Highlights

The film is perfectly cast (Carrie-Anne Moss’s character is the antithesis of the repressed character she played in Chocolat, and Guy Pearce is utterly convincing as the harried and intensely determined Leonard)
Nothing beats a truly original screenplay
Leonard’s condition places him in several highly amusing situations

Lowlights

When the closing credits started rolling

Other Info

Nudity: None 
Violence: Medium
Humor: Several amusing moments (one is highly amusing)
Memento on IMDB

The Skinny

Young boy escapes from home and travels around the country with a rock band and its groupies.

The Bottom Line

This movie will leave you feeling like you have just listened to that special song that brings back your favorite memories.

The Full Review

There’s a significant scene in Almost Famous, a wonderful new film written, produced and directed by Cameron Crowe, when Russell Hammond, the lead guitarist of a mythical rock band called Stillwater, earnestly proclaims, “From here on out all I’m interested in is what is real. Real people. Real feelings. That’s it.” These prescient words seem to be so clearly reflective of what must have been Cameron Crowe’s own thinking as he crafted the film’s central characters, each of whom commands such empathy that they comes across as real as the person sitting next to you in the theater.

The film, based on Crowe’s own experiences as a young rock journalist for Rolling Stone magazine, is set in 1973 and tells the story of 15-year old William Miller as he travels across the country in an attempt to chronicle Stillwater’s ascent to stardom.

William is played convincingly by wide-eyed newcomer Patrick Fugit, who during auditions exhibited an awkward innocence and what according to Crowe was an “ability to convey that feeling of being a fan” that helped land him the coveted starring role. Stillwater is led by singer Jeff Bebe, played by Jason Lee (Dogma, Enemy of the State, Chasing Amy) and guitarist Russell Hammond, played by Billy Crudup (Waking the Dead, Inventing the Abbotts, Without Limits). In order to prepare for their roles, Crudup and Lee spent several weeks in rock & roll “school,” taking lessons from ’70s rock icon Peter Frampton. It’s clear that Frampton’s teachings paid off, as both Crudup and Lee seem entirely at ease on stage in their Zeppelin-like rock personas.

While Crudup is certainly impressive when jamming on his guitar, his acting performance is truly defined by the subtle way in which he makes the man behind the rock star seem so ordinary. Russell is clearly pained with some of the choices he makes as he reluctantly embraces his burgeoning stardom. He is as aware of his flaws as we are. This reveals a vulnerability in Russell that makes the rock star seem more real, enabling the audience to connect with him.

Crudup, who was so terrific as long-distance runner Steve Prefontaine in Without Limits, has somehow managed to remain in virtual public obscurity while winning significant critical praise for his acting work on stage as well as on screen. Perhaps the near certain popular success of Almost Famous will allow audiences to recognize Crudup for the true acting talent that he is.

As good as Crudup is in this film, however, his acting performance is likely to be overshadowed by that of several of his cast members. Kate Hudson (200 Cigarettes, daughter of Goldie Hawn) lights up the screen as Penny Lane, leader of the “band-aids,” a coterie of young women who take so much pride in their devotion to rock musicians and to music in general that they refuse to be referred to as groupies. Hudson comes across as truly genuine in her role and enhances the performance of each of the actors with whom she shares scenes (particularly William Fugit). Frances McDormand (Wonder Boys, Fargo, Mississippi Burning) gives an Oscar-worthy performance in her role as William’s overprotective, yet remarkably trusting mother. Finally, the perfectly cast Philip Seymour Hoffman (Magnolia, Boogie Nights, Twister) is superb as rock critic Lester Bangs, who serves as a mentor to William, much as the real Bangs did to a young Cameron Crowe.

On its surface, Almost Famous is an affecting coming of age story that is filled with fascinating characters and that moves to the tune of some of the great songs popularized at the dawn of the era in rock now known as “classic.” But at its core, this film, which is very much about family (William’s real family, William’s familial bonds that form on the road, the band-aids, and Stillwater) is a heartfelt tribute to the people who helped shape Crowe during the one of the most important periods of his life.

Highlights

• Cameron Crowe’s direction was outstanding, as his skillful use of the camera enabled him to produce several “memorable film moments” (e.g. terrific close up shots of William and then Penny when William is about to lose his virginity)
• A great scene on the Stillwater tour bus when Elton John’s “Tiny Dancer” comes on the radio and breaks the tension in the air at a difficult moment on the tour
• An amusing moment in which Russell begins singing Buddy Hollie’s “Peggy Sue” when Stillwater’s charter plane hits heavy turbulence (Holly died in an infamous 1959 plane crash that also took the life of fellow musicians Richie Valens and the Big Bopper)
• Terrific soundtrack

Other Info

Nudity: Minor
Violence: None
Humor: Some

Interesting Facts

• Kate Hudson is currently dating Chris Robinson, lead singer of the Black Crowes
• Cameron Crowe and wife Nancy Wilson of the band Heart wrote the film’s original songs
• Robert Plant and Jimmy page, who have never licensed one of their performances to a soundtrack, were so moved by a screening of Almost Famous that they not only granted use of “That’s The Way” for the soundtrack, but also gave their blessing for Crowe to use four other songs in the movie: “The Rain Song,” “Misty Mountain Hop,” “Tangerine” and “Bron-Yr-Aur.”
• In 1979, a 22-year old Crowe returned to high school to research a book, which resulted in the novel “Fast Times at Ridgemont High.” Even before it was published, Crowe was tapped to write the screenplay adaptation.

The Skinny

A camp look at competitive high school cheerleading

The Bottom Line

I was more impressed with the two-minute trailer for Cameron Crowe’s Almost Famous

The Full Review

Bring It On, directed by Peyton Reed, has a few bright moments, but in keeping with the slew of uninspired teen flicks that have raced across screens this past year (Boys and Girls, Down to You, The In Crowd, Drive Me Crazy, Gossip), it offers little that will keep it from slipping into the realm of the forgettable.

The film stars Kirsten Dunst (The Virgin Suicides, Interview With a Vampire, Little Women) as Torrance Shipman, the newly anointed captain of the Rancho Carne High School Toro cheerleading squad. Torrance discovers that the Toro’s previous captain, Big Red (picture Tori Spelling on steroids), had been cheating her way to the team’s past five national cheerleading championships by stealing the stellar routines of the rival East Compton Clovers. Distraught over the fact that her life as a cheerleader has been one big lie, Torrance is determined to win this year’s competition with an entirely original routine. That won’t be easy, however, because the Clovers, led by their fiery captain Isis, played by (Gabrielle Union (Ten Things I Hate About You, She’s All That), now get to apply their own brand of cheerleading to those award-winning routines.

Bring It On opens with a highly amusing cheerleading routine that sets the tone of the film as pure camp. The scene is lead by Kirsten Dunst, who delivers the cheer (“I’m sexy, I’m cute, I’m popular to boot…”) with so much enthusiasm that she makes the cheerleading characters played by Will Ferrell and Cheri Oteri on Saturday Night Live seem spiritless by comparison. A few other entertaining moments do flare up during Bring It On – most notably the cheerleading squad’s attempts to work with a tyrannical choreographer and the close of the movie which mixes humorous film outtakes with the actors lipsynching to a remake of Toni Basil’s “Mickey.” But ultimately, the film’s screenwriter, Jessica Bendinger, has created little more than Clueless with pep but little smarts.

Perhaps the film’s biggest shortcoming is its conspicuously anticlimactic ending. Torrance and the rest of the Toro cheerleaders fail to deliver on their pledge to produce a cheer that is truly fresh and original. Why, for instance, did Torrance not find inspiration in the punk-rock love song written for her by Cliff (Jesse Bradford – Romeo & Juliet, King of the Hill), her cynical love interest? After all, Torrance was shown excitedly dancing around on her bed – pom poms in hand – as she was quickly swept up in the energetic pace of the music. This lead me to believe that I might actually get to see the Torors test their moves against some revved up guitar riffs, rather than cheerleading’s standard techno-pop garbage. Unfortunately, I was wrong.

It’s a shame that Bendinger didn’t reach a bit more with her script. Overall, the acting in Bring It On was quite strong, with particularly enjoyable performances from Kirsten Dunst, Jesse Bradford, Gabrielle Union, and Eliza Dushku (True Lies, “Buffy the Vampire Slayer”) as Missy Pantone, the contemptuous rookie on the Toro cheerleading squad. This cast, coupled with a more inspired script might have enabled Bring It On to reach true “surprise hit of the summer” status.

By: Craig Ettinger

Highlights

Opening scene
Outtakes during closing credits
Interaction between Torrance and Cliff
Scenes in which the highly acrobatic aspects of competitive cheerleading were displayed
Some funny lines: (e.g., “Cheerleaders are dancers that have gone retarded”)

Lowlights

Too much cutesy cheerleader-speak (e.g, “This is not a democracy. It’s a cheer-ocracy!”)
Useless “pain-in-the-ass” younger brother character (you’ve seen him before in many other teen flicks and he wasn’t funny in those either)
Poor acting in non-lead roles (this, coupled with sub-par production quality of film made it seem, at times, like I was watching an afterschool special)

Other Info

Nudity: None (some girls locker room underwear shots)
Violence: None
Humor: Some

The Skinny

Film version of Sebastion Junger’s account of what might have happened to a fishing boat caught at sea during a catastrophic storm in 1991.

The Bottom Line

Extraordinary visual effects make this film a “must see” on the big screen

The Full Review

The Perfect Storm, the film adaptation of Sebastian Junger’s novel of the same name, serves as a perfect complement to the author’s harrowing account of a fishing boat caught in the middle of a devastating storm off the coast of Massachusetts in 1991. Junger’s best-selling novel is as much a fascinating course in sword fishing and meteorology as it is a well-documented tale of the six fishermen aboard the ill-fated Andrea Gail. While the film version of the story, skillfully directed by Wolfgang Petersen, is not nearly as enlightening as Junger’s detailed narrative, the spectacular and otherwise unimaginable storm sequences that unfold on screen more than compensate for the film’s lean script.

The “perfect storm” refers to three raging weather fronts, one of which was Hurricane Grace, that unexpectedly collided in the North Atlantic to produce the fiercest storm in modern history. The storm, which struck on Halloween night 1991, formed with such suddenness that the National Weather Bureau didn’t have time to give it a name. Caught in the middle of this storm was the Andrea Gail, with its veteran captain Billy Tyne, played by George Clooney (Three Kings, Out of Sight, From Dusk Till Dawn), and its five crewmembers, Sully (William Fichtner), Bugsy (John Hawkes), Bobby Shatford (Mark Wahlberg), Murph (John C. Reilly) and Alfred Pierre (Allen Payne). After a run of bad luck, the men had set out into the North Atlantic for one last attempt at a big catch before the close of the sword-fishing season. With their livelihood and, perhaps more importantly, their manhood at stake, the men had refused to heed the storm warnings of fellow fishing captain Linda Greenlaw, played by Mary Elizabeth Mastrantonio and instead chose to take the storm head-on.

One of the more interesting stories to come out of the events surrounding this terrible storm was that of the amazing heroics of the members of the Coast Guard and Air National Guard rescue teams. The film does a terrific job of presenting in a compelling manner the extraordinary risks that these rescue personnel took in attempting to save the lives of people stranded at sea during the storm. In fact, in order to make the rescue scenes appear as realistic as possible, actors Josh Hopkins and Dash Mihok, who play Coast Guard parajumpers in the film, attended a parajumper training program in Arizona prior to filming.

All of the actors gave fine performances, particularly given how little character development there was in the film’s script. The two standouts were John C. Reilly and John Hawkes, who were truly convincing in their roles.

By far, the main attraction of The Perfect Storm are the stunning visual effects created by Industrial Light & Magic and a special effects team supervised by John Fazier, who has received Oscar nominations for his work on Armageddon and Twister. The effects teams’ near seamless blend of live action and digital imagery enabled them to create frighteningly realistic stormy seas. This provided for several truly breathtaking moments during the film. The overall look of the film was enhanced by the terrific cinematography created by John Seale, whose work on The English Patient earned him an Academy Award.

Sebastian Junger’s novel does a terrific job of describing in a compelling manner the events that unfolded when three major storms unexpectedly collided in the North Atlantic in 1991. But, it is the incredible visual effects in Wolfgang Petersen’s film that allow us to truly imagine what it must have been like to have suffered through the “perfect storm.”

Highlights

• The visual effects
• Diane Lane (A Walk on the Moon, Murder at 1600, The Outsiders), who plays Billy Tyne’s girlfriend, Christina Cotter.

Lowlights

• The not so subtle manner in which the audience is manipulated into caring about the well being of some of the crewmembers at the outset of the film.
• Many of the more fascinating bits of background information regarding the storm and the lives of sword fishermen presented in Junger’s novel did not find their way into the film’s script

Other Info

• Action: Plenty
• Nudity: None
• Violence: Light
• Humor: Minimal

The Skinny

In playing a general who becomes a slave who becomes a gladiator who becomes a hero, Russell Crowe becomes a star.

The Bottom Line

Two and a half-hours of action-packed and drama-filled entertainment on an epic scale.

The Full Review

The much-anticipated Gladiator finally arrived in theaters this weekend. The big question on the mind of many critics was whether or not this film would, in any way, measure up to the sweeping Roman epics of the late 1950’s and 1960’s. As a film devotee, I’m somewhat embarrassed to admit that I’ve seen neither the legendary Ben-Hur nor Stanley Kubrick’s Spartacus. In fact, the closest I’ve come to having seen anything on film that falls remotely within that genre is Mel Brooks’ amusing interpretation of life in the days of the Roman Empire in his 1981 film History of the World: Part One. But let’s face it, the creators of Gladiator were not aiming to make Ben-Hur: 2000 (that would have virtually ensured failure) and they certainly did not spend in excess of $100 million to make a silly satirical comedy. So, it is only fair that this film be judged based on its own merits, and not be measured against its Roman-themed predecessors.

The film stars Russell Crowe (The Insider, L.A. Confidential, Virtuosity) as a fearless Roman General named Maximus, whose loyalty and commitment to Rome has earned him the love and respect of Emperor Marcus Aurelius. Maximus is taken from his wife and son and banished into slavery by the Emperor’s jealous son and heir to the throne, Commodus, played by Joaquin Phoenix (Clay Pigeons, To Die For, Inventing the Abbotts). After being trained as a gladiator by his master, Proximo, played by Oliver Reed, Maximus is brought to Rome to do battle in the Colosseum. He must then fight to avenge the misery that has been thrust upon him by Commodus and to ensure Marcus Aurelius’ dying wish for a corruption-free Rome.

Ridley Scott, whose career has bee marked by both notable box office/critical successes (Alien, Thelma & Louise, Blade Runner) and failures (G.I. Jane, White Squall), ably directed Gladiator, a film that is grand in almost every way. The film contains all the requisite ingredients of a true epic: elaborate battle sequences, majestic settings, lavish costumes, breathtaking cinematography, a dramatic musical score and spectacular digitally enhanced shots of an imposing Colosseum.

Most everything works quite well in this film, from Russell Crowe’s earnest performance to the well choreographed and at times rousing scenes of combating gladiators. Even the film’s three different screenwriters managed to cobble together a fine enough script to ensure that there was some substance behind all of the film’s style. The story was engaging and espoused several positive themes – honor, loyalty, nobility, friendship, and heroism among others – without pandering to the audience.

But Gladiator is not without its flaws. Several of the film’s scenes were shot to appear almost as if they were occurring in a dream-like sequence – the result being a bizarre and out-of-place effect. More notable was the film’s big opening scene in which Maximus leads the Roman army into battle against their Germanian foes. Mr. Scott throws the audience right into the middle of the frenzied action on the battlefield, seemingly attempting to create the same dramatic and shocking effect that Steven Spielberg created in the opening battle scene on Normandy in Saving Private Ryan. The result is five hazy minutes of mainly faceless images flashing across the screen at such close range and at such dizzying speeds that I nearly lost interest in what I was watching.

On the whole, Gladiator was an impressive effort from all parties involved, most notably Russell Crowe, who will finally be catapulted to the star status he has deserved since his gritty performances in L.A. Confidential and The Insider.

Highlights

• A strong cast anchored by standout performances from Crowe and Oliver Reed
• Terrific gladiator combat scenes
• (Some critics, however, have curiously expressed their distaste for these scenes by likening them to something out of a WWF wrestling match or an arena football game. As if to imply that they know what gladiator combat was really like. I guess these critics have actually spent time hanging out at the Colosseum in 180 A.D. watching real gladiators in combat. Or maybe it’s just that watching all of that wrestling has begun to cloud the judgment of these critics.)
• The previously mentioned cinematography, costumes and visual effects

Lowlights

• The action in the opening battle scene was difficult to follow
• The movie drags, only briefly, about halfway through the story

Other Info

• Nudity: None.
• Violence: Loads.
• Humor: Minimal.

The Skinny

Music junkie searches for the answer to overcoming failure in relationships with women

The Bottom Line

A near perfect adaptation of a highly entertaining and insightful novel

The Full Review

Having appeared in more than 40 films since the early 1980’s, John Cusack has quietly assembled one of the most prolific film careers of any actor today. Throughout his career, Cusack has demonstrated his versatility as an actor by working with such diverse directors as John Sayles, Woody Allen and Rob Reiner and by taking on roles that have ranged from a hapless con artist in The Grifters to a hit man with a conscience in Grosse Point Blank. But, what perhaps stands out most about Cusack’s film career has been his uncanny ability to effortlessly personify the lovesick everyman. In such films as Better Off Dead (1985), The Sure Thing (1985) and the now classic Say Anything (1989), Cusack established himself as the actor who can most adeptly capture the torment that average guys endure while fighting to establish or maintain a relationship with the women of their dreams.

Thankfully, the folks at Disney were smart enough to look to John Cusack to play the lead role in the film High Fidelity, which tells the story of a thirty-something music junkie who suffers somewhat of a “mid-life” crisis when his long-time girlfriend walks out on him. Interestingly, Cusack also co-wrote the film, which was adapted from the thoroughly amusing cult novel of the same name by Nick Hornby. While the screen adaptation does make one significant departure from the novel – the film relocates the setting from London to Chicago – the rest of the movie stays true to Hornby’s story.

Cusack plays Rob Gordon, a regular guy who owns a struggling music store called Championship Vinyl. Rob spends his days debating facts (and opinions) about pop music with his two employees, Dick, played by Todd Louiso and Barry, played by Jack Black (Cradle Will Rock, Enemy of the State, “Tenacious D”). After being walked out on by his long-time girlfriend Laura, played by Iben Hjejle, Rob seeks to overcome his despair by finding meaning in his past failed-relationships. Rob lets the audience in on this highly personal journey by frequently pausing to speak directly to them along the way. Not since Ferris Beuller befriended audiences and brought them along on his infamous day off has such the technique known as “breaking the fourth wall”worked so flawlessly in a film.

There are so many reasons to see High Fidelity, not the least of which is the wonderful acting displayed by the entire cast. As previously alluded to, Cusack excels in the role of Rob Gordon, as he produces a character that every guy can relate to on some level. Iben Hjejle is convincing as the discontented ex-girlfriend who has grown tired of waiting for her man to embrace adulthood. Lisa Bonet (Enemy of the State, Angel Heart, “The Cosby Show”) is perfectly cast in the role of indie singer-songwriter Marie DeSalle, a character who unfortunately receives too little screen time. Best of all, however, are Jack Black and Todd Louiso, who create the perfect pair in the hilariously obnoxious Barry and the oddly mild-mannered Dick. Black in particular nearly steals the show.

When considering whether or not to see High Fidelity, do not be misled by oversimplification of the story line. While the film does center on the relationship between a man and his ex-girlfriend, and you will no doubt found yourself laughing throughout the movie, High Fidelity is by no means a romantic comedy. This film has so much more to offer than such a label would imply. To suggest that High Fidelity is a mere romantic comedy would be an insult to both Nick Hornby and the team of writers who did such a terrific job adapting the story for the screen.

Highlights

• The film contains several highly welcome cameos
• Barry offers up a highly amusing dance number to “Walking on Sunshine” by Katrina and The Waves
• Many terrific lines worthy of being quoted for years to come
• Some interesting “top five lists” offered up by Rob and his music-loving cohorts
• The music, of course

Lowlights

Tim Robbins plays a goofy character that doesn’t quite work

Other Info

• Nudity: None.
• Violence: Very minimal.
• Humor: Plenty