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Prom Night in Mississippi (2009)
Frank and insightful
Saw this yesterday at our film festival, and was very impressed. The film studies the phenomenon of a racially integrated senior prom from several perspectives, mixing student interviews with footage of key events in their prom preparation, like buying dresses and confirming dates. The interviews achieve a happy mix of blunt candor with adolescent innocence, and one comes away with the notion that racism is not so much a yes-no status as a continuum along which everyone can be placed: some kids want to socialize with kids of other races, but would not date them; some parents work hard to prevent their children from interracial dating, but ultimately permit it. This is a film that is destined as a springboard for discussion; it certainly provoked a long talk among the crowd I saw it with.
Lucía y el sexo (2001)
Much more involving than I thought.
The trailers for this film capitalize on its sexuality and naturalistic dialogue, and in the tough economic climate for non-US films these days, I'm not surprised. But, the beautiful part about this film was its evolving complexity, and the depth of its characters' struggle with their pasts and each other, which came as a welcome shock. Every face on screen is expressive and well shot, and the twisty, thoughtful script capitalizes on the acting talents of its (mostly) young cast and the distinctive beauty of its island setting. I wasn't so impressed with the washed-out photography, but everything else about this film was much more keen, incisive, and pleasant than I expected, and I had high expectations. Charming!
Hollywood Ending (2002)
Too much Hollywood, not enough ending.
I'm a huge Allen fan, and own almost everything he's directed or starred in (I even liked Celebrity!). But, I was disappointed in this one, for a couple of reasons. First, the pacing is frustrating throughout - although some of the individual scenes are beautifully timed, the film feels forced overall, and some of the acting is remarkably bad, which is unusual for Woody films. Second, Woody never really tapped into the depth under his themes - he could have dealt with psychosomatic handicaps, artistic frustration, and rekindling romance in a much more revealing way, without sacrificing the ability to make the audience laugh (he pulled this sort of thing off with panache in Crimes and Misdemeanors and Bullets Over Broadway, to name only a couple). Third, and most frustrating, the camera work in the film is not up to Woody's usual par. He's given up the great work of Sven Nykvist and Zhao Fei for a new collaborator, who doesn't have the instinct or talent to match the brilliance of Woody's previous cinematographers. So, although some of the dialogue crackles, and there's plenty of sly autobiograohical reference and teasing Hollywood convention in the script (I loved the lifetime achievement award for Haley Joel Osment!), there wasn't enough substance to the film to win me over. Sorry, Woody.
Free Press vs. Trial by Jury: The Sheppard Case (1969)
Interesting documentary
One-hour special focuses on the 1954 trial of Dr. Sheppard and the publicity that surrounded it. Interviews with Sheppard, F. Lee Bailey, and great footage of the media frenzy that accompanied the retrial. Straightforward, lackluster production, but informative and accurate.
Metal (1999)
Bleak, moving drama
I saw this film at a sneak preview in Cleveland, and was very moved by it. The journey of Ray, who loses his job and agonizes over finding another, was compelling and heartbreaking; his family's reaction to his stress and his wife's frustrated love for him are achingly portrayed. Excellent work for first-time feature director Brown.
John Strasberg: Accidentally on Purpose (1999)
Thoughtful, inspiring documentary
I enjoyed this film greatly - it explores Strasberg's continuation of his father's acting method in workshops at The Actor's Studio. Interviews with Strasberg and actors flesh out his points. Very well done, if a little dry at times; still, for anyone interested in acting theory and dramatic courage, a must-see.
Living with Pride: Ruth C. Ellis @ 100 (1999)
Wonderful, inspiring documentary
Ruth Ellis discovered her Lesbian self in 1919, at the age of twenty. By the time she retired from owning her own print shop, she was 65 and the civil rights movement was just getting started. Now, at 100, she's an inspirational figure in the Detroit women's movement, and this film explains why: she's feisty, dedicated, and completely honest about herself. In the space of an hour, I learned about Lesbian and black life in the '40s and '50s, what it's like to have a one night stand at the age of 95, and the desires of the modern feminist and Lesbian community for role models and leaders. A recommended film.
Illuminata (1998)
Disjointed, failed film with great moments
I went into this film really wanting to like it - it headlined a film festival earlier in the year, and boasted an all-star cast. But (and you could tell there was a "but" coming) it's a failure of a film. Outstanding character acting by Sarandon and Walken is destroyed by editing and the antics of the supporting cast. Turturro's performance is lackluster, and most of the comedy is overplayed. The recurring puppet shows are pointless, and a few scenes are completely out of place.
That said, there are some wonderful moments sprinkled in the film. A genuinely touching stage moment, several of the seductions, and a few of the comedic color actually work out. Unfortunately, they're overshadowed by the diffuse, incoherent script and some bad acting.
The Spanish Prisoner (1997)
Unfortunate failure
I was ready to like this film when I rented it - great press, great screenwriter/director, great cast. Unfortunately, it failed to meet even basic expectations. While the supporting performances were uneven (great turns from Martin and Gazzara, weak ones from Pidgeon and Jay), poor Campbell Scott, front and center the whole film, never manages to generate any sympathy or energy, and in fact leaves the film fundamentally inaccessible. I used to think there was no skill involved in playing the center of a plot-centered film, but this movie disproved that theory - a better central actor could have made the film work. Instead, the connections to him (his potential romance with Pidgeon, his envy and respect for Martin, his drinking-buddy chats with Jay) all fail not because they're poorly written, but because Scott doesn't show anything about what they mean to him.
Even Scott's fatal performance aside, this film was difficult for several other reasons - the stilted direction and complete triteness of the opening scenes; the poor line delivery of Pidgeon, whose over-diction becomes annoying, and who never understands a character that uses 'Crikey' as an expletive; the implausibility of Joe Ross' utter gullibility; the purely gratuitous final twists of the plot; and the downright insulting action sequence toward the film's end. I blame Mamet for all of these, not just for mis-casting Scott and Pidgeon, but for overworking the plot and preventing any real character acting from coming through, except for Martin and Gazzara, who have to work hard at it.
Another near miss for Mamet, who is an amazingly talented screenwriter, but simply fails to tie the package together for film.
Peeping Tom (1960)
Intriguing, but flawed, film
This film has several large flaws: the mis-casting of Boehm as a British landowner; Boehm's melodramatic acting; the goofiness of several of the supposedly chilling scenes; and the overlength of several dialogue scenes.
For all these serious flaws, though, the film manages to stand up to the test of time. The screenwriting is incredible (how Leo Marks came up with a character like Mark Lewis before _Psycho_ or _Frenzy_ or even _sex, lies, and videotape_ is beyond me), and several of the scenes are downright chilling. The integral post-modernism of the film's concept is advanced as well: levels of surveillance and self-reflection are explored in depth, without blatancy or irony. Overall, even for some laugh-out-loud-campy moments, I think the film succeeds, even to the modern psycho-thriller devotee.
Star Wars: Episode I - The Phantom Menace (1999)
Wondrous adventure movie
I had read a lot of hype about this film, and many negative or mixed reviews. After seeing it last night, however, I believe this film to be a pleasant and well-made adventure film, and a fine addition to the series.
I sympathize with the criticisms of the film's plot and thin characters. The political background of the galaxy, clearly essential to the plot, is never satisfactorily explained, and several scenes which were written for emotional depth (one dying speech comes to mind) don't come off.
However, as an adventure movie, the film is worthy. Splendid visuals, a script consistent with the previous films (and adding several new mythological twists), and the wonderful musical score make the film worth seeing, for what it is.
Election (1999)
Wicked comedic satire
Having read the other user comments here, I can only agree with the most favorable. This film works on so many levels, and reveals so much of human nature, and how our adolescent experiences shape us for the rest of our lives. The script is wonderful, even if there are some trite stereotypes, and the cinematography is wonderful. The acting is superb, with Broderick's subtle performance of a basically decent guy coming apart at the seams making the greatest impact. Witherspoon, whose previous work has ranged from the mediocre (Pleasantville) to the scary (Freeway), creates a frighteningly believable character. Highly recommended.
Twilight (1998)
Above average film noir
It's unfortunate that this film was released only shortly before L.A. Confidential, which is a wonderful film that deserved its honors. Twilight, with its intriguing characters and twisty script, simply fell out of the limelight, and hasn't gotten the attention it deserves.
There are faults in the script, to be sure, and even with this all-star cast, things are a little uneven. However, this film is a gritty, interesting thriller, focused on the playing out of lifelong grudges and desires. Much as Deep Impact was nominally a sci-fi film, but truly focused on the different ways in which people confront the end of the world, Twilight is only nominally a crime thriller, but truly focuses on the lengths to which people will go to preserve the legacy they desire. A satisfying, if not brilliant, film.
Bed of Roses (1996)
Great acting, mediocre movie
I enjoyed this film, but only for two specific things: the acting of Masterson and Slater. Masterson is startlingly good, and Slater shows a deeper range than I previously thought. The rest of the film, though, is shallow and never fully realized. Plot elements are thin and almost unbelievable, several of the supporting actors are terrible, the music is trite and unoriginal, the cinematography is downright boring, and the dialogue falls into inanity and predictability too often. If not for the heroic performances of the lead couple, this film would be entirely forgettable. Masterson, though, is truly gifted, and digs deep to find the center of her character, and Slater reaches a bit himself for a romantic side I've never seen. I give it a 6, for the acting alone.
Home Page (1998)
Boring documentary follows Web designers in mid-90s
This film had possibilities, but it never took advantage of them. Studying the mid-90s rise in Internet and WWW popularity, the director lucked into interviewing Justin Hall, who toured the country and got hired by Hotwired and Electric Minds. Unfortunately, he only gives us brief insight into the lifestyle of the Webhead crowd, trading instead on a soap opera affair between Hotwired employees and footage of Howard Rheingold getting interviewed by foreign news crews. A sappy Baby-Boomer ending doesn't save the film from its own pointlessness; nothing of relevance emerges from the screen. Save your money, and just stick to reading about the modern relevance of the Internet.
Return with Honor (1998)
Touching documentary about tough topic
I saw this film in March 1999 at the Cleveland International Film Festival, and was blown away. Remarkably candid, disturbing, and honest revelations from Vietnam veterans about their captivity and release, combined with remarkable archival footage of the prisoners from the war, made this film touching and inspiring. The directors are both previous Oscar winners, and this film shows their experience and skill in the medium. Wonderful film about a difficult topic, told by the veterans themselves.
Rounders (1998)
Dark, shiny film digging into talent
This film is most incredible for what it isn't. It isn't flashy, it isn't spectacular, and above all, it isn't really Hollywood. Matt Damon puts in a so-so performance at the head of a truly incredible supporting cast, with gem roles for Malkovich, Norton, and Turturro. The script is understated, thrilling, and realistic - the protagonist is sympathetic, and the plot is linear and interesting. Excellent direction and cinematography make this one worth seeing.
Saving Private Ryan (1998)
Intriguing calamity
This film lives up to much of its hype. It is, in fact, a morally ambiguous film about late World War 2, told from a soldier's perspective. However, I wasn't nearly as impressed with the entire film as I was with the truly incredible opening sequence. For much of its development, the film seems as aimless as its characters, searching for accomplishment and meaning in an otherwise chaotic environment. Solid acting turns, although nothing superlative, from Hanks, Damon, and Norton, especially.
Good Will Hunting (1997)
Spectacular script
Yet another script (much like Pulp Fiction) that deserved its Oscar. Damon, Williams, Affleck, and Driver are all wonderful as inner-city urbanites who try to make good on their respective talents, and the script leads them through a twisty maze of events on their way to a heartwarming ending. Williams isn't as overtly impressive here as in his historically great dramatic roles (Fisher King, World According to Garp, Dead Poets Society, Moscow on the Hudson), but his understated warmth justifies his Oscar-winning performance.
Dante's Peak (1997)
Pointless action flick
Pierce Brosnan leads an otherwise unremarkable cast in a volcano thriller that never really grabbed me. Linda Hamilton proves her limited acting range, and although there are some breathtaking special effects, they never integrate into the plot effectively. A predictable script, except for an uncharacteristically realistic twist, followed by an even more uncharacteristically fantastic last scene, never moves away from its linear path into anything approaching interesting.
Message to Love: The Isle of Wight Festival (1996)
Great rockumentary
This film chronicles the 1970 Isle of Wight Rock Festival from behind and on front of the scenes. Incredible concert footage of Hendrix and Jim Morrison (both of whom died just after the festival) as well as numerous other pop, folk, and rock artists make this film wonderful just as a concert video. Even more revealing, though, is footage of the festival's production and management, including riots, rebellious patrons, break-ins, and mordant commentary on why rock festivals don't happen anymore. Beautifully paced and edited.
American Buffalo (1996)
Frustratingly bad
This film features both Dustin Hoffman and Dennis Franz acting in keeping with their excellent reputations, but to no purpose. The three-man script is gritty, but pointless. As many great scripts as Mamet has written, this one is a dud.
Mistress (1992)
Worth seeing
Bob Wuhl, never acclaimed because he has little range, actually turns in an excellent performance as a screenwriter who pulls out all the stops to get his script filmed. Martin Landau is his producer, and the money men they find, one of whom is Robert DeNiro in a wonderful role, all want him to cast their mistresses in the film. Although the film is slow at times, excellents performances all around make this worth seeing.