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8/10
A fascinating, entertaining, and haunting movie.
25 January 2002
A.I. Artificial Intelligence (2001) Rating: 8/10

This is a GREAT movie. I found it extremely moving and emotional. In fact, I was so overcome with emotion by the end of the movie, I was literally choking back sobs.

Why did this movie affect me? I honestly don't know. It might have to do with the fact that I'm fascinated by anything that has to do with the future. I worry about it sometimes, like what will happen. What if the polar ice caps melt? What will we do? When and how far will artificiality go? And how real will they be considered? or what are the moral implications of A.I.? Compared to most viewers and my worries about the future (I'm not paranoid about it though), I think I had an unusually strong emotional reaction. Maybe it was Haley Joel Osment's amazing performance. One thing I noticed is that like a true robot, he never blinked. He was actually kind of creepy at first, but by the end I actually felt extremely sorry for David, even though he was, essentially, a machine. That kid deserves another Oscar nomination.

Jude Law's performance was also very good, his character Gigolo Joe was entertaining and lightened up the somber mood cast by David's obsession with finding the Blue Fairy and reuniting with his mother (played wonderfully by Frances O'Connor). I would have liked to see more of his character interacting with his "clients". The concept of an artificial lover was intriguing. With his perfectly made up features, he looked artificial but strikingly beautiful. He was all style, all prancing, preening attitude.

On a technical aspect, A.I. is phenomenal. Spielberg's directing is topnotch, turning the movie from a sterile quietness in the beginning to a warm solitude at the end. The visual effects are astounding, but subtle. They are not the reason for seeing it, nor do they think they are. They are used to help tell the story, not be the story like in most summer popcorn flicks. Spielberg's effects are reminiscent of past work, especially with the use of the ultra-advanced robots at the end, and the scenes of a drowned and abandoned New York City are both beautiful and haunting.

It's easy to see why critics and movie-goers are half and half on the film. Some may find the pace too slow, for one. And it's certainly not a check-your-brains-at-the-door summer popcorn flick. Maybe it's too intelligent? I was stunned over and over again by its ability to raise important philosophical and social issues.

It is a journey into the mind and into the soul of humanity; searching for questions and answers concerning our existence and the meaning of our presence. It is very good that the film doesn't provide any real answers to the questions it raises. If it would have tried to, A.I. would have been just another unrealistic Hollywood, sci-fi blockbuster. It was very brave of Steven Spielberg to avoid pleasing the crowd with easy answers and a normally developing story.

There are lots of questions you'll be asking yourself at the end and lots of people hate when a films meaning isn't handed to them on a silver platter. But I think if you are reasonably mature, intelligent and can appreciate a movie that forces you to think, it is not to be missed.
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Moulin Rouge! (2001)
9/10
Spectacular, Spectacular!
23 January 2002
MOULIN ROUGE! (2001) Rating: 9/10

Director and co-writer (with Craig Pearce) Baz Luhrmann describes the style he brought to the Australian dance flick Strictly Ballroom and his underrated take on William Shakespeare's Romeo & Juliet as "red curtain theatricality". He likes to deal with familiar types of stories (so the audience knows how it will end) taking place in sort of a heightened reality, with plenty of devices reminding the audience that they're watching a movie. Moulin Rouge! is a perfect example of that. It's not interested in the banal and the realistic, it's Cinema!!, with a capital 'C' and plenty of exclamation points! Music! Flying colors! Dancing! Emotions set free! Slapstick! LOVE! The red curtain opens (literally) and then we're off for one wild ride, a rocky electric cancan boogie playing over a love rollercoaster, as seen through the lenses of a filmmaker with a vision equal parts Méliès, Technicolor 1950s musicals and MTV.

It's quite overwhelming at first, but in a good way. Luhrmann's frenetic back and forth camerawork puts you in the same state of mind as Christian as he enters the Moulin Rouge for the first time. On one side powdered girls are doing their thing, chanting the "Voulez-Vous couchez avec moi?" chorus from "Lady Marmelade", while across the way a bunch of men in tuxedos are emulating Kurt Cobain and proclaiming "Here we are now, entertain us...", meanwhile Zigler is screaming "Because you can can-can!" on Fatboy Slim's electronic beats... And then Satine floats down on a trapeze crooning "Diamonds Are a Girl's Best Friends" and takes everybody's breath away... The men's, Christian's... Ours.

That's another thing; it's good to be able to craft energetic, entertaining musical numbers, but there's the danger to end up with a futile, purposeless costume revue. This never happens here because, as familiar and melodramatic as the story can be, it still involves us completely. We really feel for these passionate lovers doomed to hide their affair. When we see Satine for the first time, we fall in love with her along with Christian, and we root for him, for them, through the rest of the film. The delightfully twisted musical numbers that punctuate their tale aren't gratuitous but integral to the drama. Most every important declaration is made through song, be it Christian belting out Elton John's "Your Song" ("How wonderful life is while you're in the world...") or Satine serenading him with "Come What May" (one of the movie's few originals, and a great one at that - expect an Oscar nomination), or the both of them discoursing about love with lyrics from famous songs from The Beatles, Kiss, David Bowie, Paul McCartney, Joe Cocker, Whitney Houston. Plus, not only to the songs fit in thematically, they're also reinvented in original ways. The Police's "Roxane" becomes a tango, Madonna's "Like a Virgin" becomes a show tune...

Then there's the outrageous sets and costumes, the frantic choreography, the endless variety of camera angles and editing tricks... And above all, love, as communicated by Ewan McGregor and Nicole Kidman in what could be career peaks for both. Kidman is just lovable, sexy, warm and goofy, nothing like the icy bombshell she once appeared to be. McGregor is at the other end of the spectrum from diving into toilets, all charm and idealism, love obsessed writer, blue-eyed dreamer... And when put together, extraordinary chemistry erupts, they just gel together, they BELONG with one another! And they can sing too! Who knew these two had such nice voices? They're nicely surrounded by a cast of enjoyably caricatural supporting characters, from John Leguizamo's high-on-absinthe dwarf to Jim Broadbent's life of the party burly man and Richard Roxburgh' moustache-twirling Snidely Whiplash of a villain.

Moulin Rouge! is what film lovers have been waiting for all year. Here's a movie that makes you giddy with joy and eager to see it again and again. Spectacular Spectacular indeed!
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Vanilla Sky (2001)
9/10
Cameron Crowe's tantalizing film sticks with you.
17 January 2002
VANILLA SKY (2001) Rating: 9/10

Before seeing this movie you need to bring your imagination, intellect and your sense of wonder to this film, along with a friend if someone's handy. You will need all four - the latter is critical to talk through your impressions and the film's possibilities over a nice cafe mocha after the show.

It's not another date movie of the kind Hollywood routinely churns out. There's a lot to like about this movie. It demands to be watched "Closely!" Open your eyes... (where'd I here that?) Now there's nothing wrong with fun fare of, say Charlie's Angels and Shrek. To all flicks, a purpose. Those are frolicks. This one is more comparable to a philosophical lecture, where the professor insists you learn by immersing yourself in the experience. Each has entertainment value. This one simply demands your full attention to "get it".

The movie is very different from what the commercials make it out to be. It turns out to be more of a fantasy film actually. And it is a "thinking" film that made me want to talk about afterwards, which is always cool with me. There are also lots of humor and witty dialogue throughout the movie, much more than you would expect from seeing the trailers. Jason Lee seemed to get the bulk of the funny bits (as always), but Tom Cruise gets in his share of memorable zingers, too.

Having said that, I think a lot of what makes this a success in my book are the five great performances by the leads. Tom Cruise is at his charismatic best, and Penelope Cruz is more lovable than in any other movie I've seen her in. The two of them have palpable chemistry, I have no trouble believing that the sparks continued long after Cameron Crowe yelled "Cut!" Jason Lee is, not surprisingly, perfectly cast, having mastered the art of playing the smart-ass best friend in Kevin Smith's flicks. The real surprise is Cameron Diaz. I've adored her ever since she first entered that bank in 1994s The Mask. She then proved surprisingly game in There's Something About Mary, and she revealed an edgier side of her acting in Being John Malkovich, but this (for lack of a better term) psycho bitch turn is still quite shocking! I'll never see her as a harmless blonde sweetie ever again! Cruise also does some of his most interesting acting when events spin out of control, showing a much darker side of himself. As in Eyes Wide Shut and Magnolia, I think the fact that we're used to seeing him as such a successful stud makes his breakdown even more affecting.

Behind the camera, Cameron Crowe is as "on" as he's never been. With the help of cinematographer John Toll and his wife Nancy Wilson doing the score, he crafts a constantly stimulating succession of sounds and visuals, sometimes to rivetingly surreal effect. Plenty of scenes are still haunting me, from the Times Square opening to the breathtaking finale, through countless other great moments. And what about the soundtrack! A former Rolling Stone writer, Crowe always puts together bitching soundtracks for his movies. Think of the use of "In Your Eyes" in Say Anything, of "Free falling" in Jerry Maguire, the Seattle grunge in Singles, or the Led Zeppelin tunes in Almost Famous. Now in Vanilla Sky, we can hear such great artists as Radiohead, REM, the Beach Boys, Bob Dylan and Peter Gabriel, all used to near perfection. I mean, some will disagree, but I found the "Good Vibrations" music cue just priceless, I had "Solsbury Hill" caught in my head for the whole day and even Joan Osborne's "One of us" took on creepy undertones!

Vanilla Sky explores some very intriguing territory, which will confuse the hell out of a lot of people, but give it time, there is a point and some sense to make off it all in the end. Some might argue that it's better to leave things unexplained than to tie everything up, but in this particular case, I thought the exposition served its purpose, and as delivered by Noah Taylor ("Tech support!") and Tilda Swinton, it doesn't feel tedious. And then, the movie reaches a payoff. To reverse one of the film's leitmotiv, since you got more into the sweet early scenes, the sour elements hit even harder, and when you don't expect it no more, "sweetness follows" and you leave the theater still on a high, wondering what it is that would make you most happy.
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10/10
A beautifully written, acted, and crafted movie.
16 January 2002
Warning: Spoilers
A BEAUTIFUL MIND (2001) Rating: 10/10

A Beautiful Mind's greatest achievement, in my humble opinion, is the way it makes schizophrenia accessible to "sane" people. The general public knows schizophrenics tend to talk to themselves, repeat certain actions and do things generally at odds with the norm. But why? It's nearly impossible for a "sane" individual to understand why this happens...and more importantly, what that feels like. Without this essential empathy, many people become frustrated with the mentally ill, asking why patients can't pull themselves together and just bear up. We express this same impatience with the criminally insane who act upon delusions with disastrous results. It is incomprehensible.

A Beautiful Mind does all it can to change that, and it succeeds. Unless you are familiar with John Nash's story, you probably won't guess he's schizophrenic until part-way into the movie. He's eccentric, abrupt, and highly intelligent, but doesn't seem crazy. His delusions are as real as reality to Nash, and likewise, they are real to the audience, who cannot tell the difference between truth and delusion.

Incidentally, I came across a review from a "professional critic" who blasted A Beautiful Mind for including "all that spying stuff that had nothing to do with Nash's work that was thrown in for Hollywood thrill." I feel bad for that chap, since he missed the entire point of the film. But that just proves Ron Howard's genius in creating a picture of insanity indistinguishable from reality.

There are some truly shocking moments in A Beautiful Mind. When Alicia finds her husband's secret cache of newspaper clippings behind their house, I was eerily reminded of Jack Nicholson's wife in The Shining discovering his endless, typewritten pages of the same phrase. The scene that follows, culminating with Nash's realization that his delusions are indeed a false reality is brilliant. In a moment, remembering Marcee, Nash has a flash of insight, and he finally accepts his illness -- ironically, through his intellect. When Nash imagines that someone is going to harm Alicia, he lunges at her -- and only through his eyes do we see how a seemingly senseless act of violence is a gesture of love, filtered through the smog of delusion.

Now my take on the acting: Superb in every sense of the word. Russell Crowe is incredible. I can't stress that enough. There's never any question about the authenticity of his character. Crowe doesn't rely on his elaborate makeup to age Nash -- his walk, words, and voice do that elegantly in the movie's end. Crowe will get at least another Oscar nomination out of this one. And, he better win. Jennifer Connelly is amazing as well. And when Crowe and Connelly are put together, extraordinary chemistry erupts, they just gel together, they really belong with one another. Some people have had problems with the romance part of the movie, saying that the way John and Alicia even started seeing each other wasn't very realistic and why Alicia would stay with John after he becomes distant. But, I think that maybe it started out as just a crush, you know, and the math question she showed him was just her excuse for going to his office and she already knew she was going to ask him out before hand. Maybe she's just attracted to the kind of person Nash is? Who knows? A lot of people are attracted to the "weirdest" things sometimes. The crush took over the fact that he sort of insulted her work and she still asked him anyway. When you're around someone you like so much you can't help but be fooled by them. I can't really explain it, but I can understand why she still asked him to dinner. And I guess if you love someone as much as Alicia loved John, then you would stick with them through anything. Even how distant he became, she still stuck with him.

Moving on, I think Ed Harris is, as always, great. Harris continues to prove that, simply because he's flawless. With delusions like these, no wonder Nash was torn between treatment and "spying."

Simply put, A Beautiful Mind is a film which extends far beyond the 2 hours and 15 minutes that you will spend viewing it in the theater. The characters continued to haunt me after the movie (and still do), thanks to the Oscar-inducing performances by Russell Crowe, Jennifer Connelly and all of the supporting players. They are not merely acting, yet are transformed into the characters, leaving no trace of a line between their part and reality.

Of course a film is only as good as a screenplay would allow, and the story contained within is written in a way that compliments everything that is truly great about A Beautiful Mind. Ron Howard contributes truly inspiring work to this film, and I hope that the critics remember him when awards are being given out.

All I can tell you now is that if you're looking for an emotionally-charged movie that will make you cry, but still filters in some very funny moments as to lighten things up every now and then, with near perfect acting, cinematography, directing, editing and a screenplay which will cause the story of John Nash to inspire you, then consider A Beautiful Mind.

I hope a lot of people see this film. Not just because Russell Crowe is a hunk or because it's a Ron Howard piece, but because you will learn something important. You will learn why compassion is an absolute must when dealing with the mentally ill. You won't glare at the next person you see muttering to themselves. And when someone you love is dealing with a disorder, be it schizophrenia or depression, you won't ask them to "pull themselves together." You will understand why they need your love -- because they are just as confused as you are.

In closing, if Russell Crowe isn't awarded the Best Actor Oscar this year, then my faith in movies and its rewards system will be seriously tarnished.
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9/10
This is the Harry Potter I imagined while reading.
16 January 2002
HARRY POTTER AND THE SORCERER'S STONE (2001) Rating: 9/10

I must say that you don't have to be a fan of the books in order to fully appreciate this film. In fact, I'd go so far as to say that you might appreciate it even more if you haven't read the book (the three people I saw it with loved it just as much as me, a person who has read the book). For one, you have no idea what's going to happen, so everything is unpredictable. And two, whatever is left out of the book wont bother you. Having said that, I wont compare and analyze the book and film to death, like so many others have done already because as a stand-alone film, it's pretty amazing.

The casting is something along the lines of ideal. Rupert Grint is ideal as Ron, the clownish chess friend with a heart of gold, and Emma Watson IS Hermione, from her brainy smugness to her fierce loyalty. Daniel Radcliffe, as the courageous but modest orphan with extraordinary abilities, is utterly captivating. Harry lives, thanks to this talented twelve-year-old. The chemistry and friendship between the three is undeniable. Robbie Coltrane IS Hagrid, the lovable giant with a fondness for dangerous creatures. Alan Rickman is sufficiently creepy and sinister as Professor Snape. Crisp, stern Professor McGonagall is brought most believably to life by Maggie Smith, while John Cleese does a delightful, if brief, turn as Sir Nicholas de Mimsy-Porpington, the ghost who haunts Harry's dormitory. John Hurt has a splendid, though again short, appearance as an eccentric wand-maker, Zoe Wanamaker is wonderfully spirited as flying teacher Madam Hooch and I enjoyed Ian Hart and Richard Harris as Professor Quirrel and Headmaster Albus Dumbledore, respectively.

Chris Columbus and Steve Kloves did a great job of bringing the story of a modern-day boy-wonder from the pages of Rowling's incredible book to life. Columbus clearly has a knack for directing children, he shows it here as well as in the Home Alone flicks and Mrs. Doubtfire. And since I had recently seen (and liked) Wonder Boys, a film which Steve Kloves had adapted and earned an Oscar nomination for Best Adapted Screenplay, I had faith in his ability to adapt books into films. Most of the important events are there, with one or two new episodes to replace large amounts of text, which works just as well.

As for the visual effects, they were pretty slick. I've read many reviews in which people have thought that the effects were bad. But, I enjoyed them a lot and thought the best use of them was in the Quidditch scene. It was fast, loud and damnit, it was just cool! I liked it.

Overall, highly enjoyable and entertaining. The cast was great, the direction was great, the visuals were sharp and the screenplay was well-adapted. The score by John Williams is memorable as well and every time I here the theme, it gives me goosebumps.
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