Reviews

When I first saw the 1997 television production of Cinderella, I had heard very little about it. At that time, I knew very little about the two previous incarnations - with Julie Andrews in 1957 and Lesley Ann Warren in 1965. In fact, I had seen only clips of the former, while I had been somewhat unimpressed by the latter when I had taken the soundtrack album out of the library. Seeing this newer version, with Brandy Norman, brought the material to life with me and has, over the past decade, given me great pleasure each time I have revisited it.

I find Brandy very compelling in the central role. Yes, she has a contemporary edge to her voice, the appropriateness of which has been debated with fervour on musical theatre boards over the years. But, like everything else in this version, singing in a traditional musical theatre style is by no means a hard and fast rule to be followed. And Brandy delivers where is counts - she creates a character in whom you can believe and for whom you really root.

She is supported by some very able performers. Paolo Montalban is a handsome prince with a pleasant singing voice, and gives his duets Norwood (the exuberant "Ten Minutes Ago" and the remarkably perceptive "Do I Love You Because You're Beautiful?")with an immediacy that really reflects the sudden journey from strangers to lovers that is a trademark of the Cinderella story. The step-family - with Broadway diva Bernadette Peters as the Stepmother and Veanne Cox and Natalie Desselle as the stepsisters - manage their comic supporting roles well, with Peters delivering a knockout "Falling in Love With Love", a classic Rodgers and Hart song added to the score for this adaptation. The trio are also superb when that combine with Brandy in the recollection of the ball in "When You're Driving Through the Moonlight" (sadly cut down here) and "A Lovely Night".

There are only two performances that don't really work well in the telefilm. Whitney Housten, as the Godmother, is just in a completely different film that is all about Whitney Housten. Although delivering a pop-vocal in a similar style to Brandy, Housten's performance grates against the score where Brandy's remains bound by the given circumstances of her character. Jason Alexander, in an attempt to characterise a characterless role, falls back on the trick of an accent to do the job for him and then forces the humour, and particularly the physical comedy, to such an extent that he isn't particularly funny.

The direction, by Robert Iscove, keeps things moving along swiftly but is by no means masterful, particularly when one considers the moments that don't quite work - the aforementioned physical comedy from Alexander, for example. The choreography, by Rob Marshall, is a highlight of telefilm and the musical staging and choreography is wonderfully executed - particularly in the ballroom sequence.

Robert L. Freedman's adaptation of Oscar Hammerstein's teleplay (as well as the other adaptations thereof) conceives some fine moments, particularly in the ballroom scene where the dialogue between Cinderella and the Prince is far less sticky while remaining blatantly sentimental. It does miss others, however: for instance, the arc of the Queen's character seems to miss a few beats between her original appearance and the reprise of "Do I Love You Because You're Beautiful?".

The score remains fairly intact. The biggest adaptation to the existing score is the combination of the shameless establishing exposition number "The Prince is Giving a Ball" and the pretty pointless, one-joke, lame duck of a list song, "Your Majesties". This works really well, particularly because the revised number now incorporates (however fleetingly) Cinderella and the step-family, making it somewhat more deserving of it's "stage time".

Of the three additions to the score, "The Sweetest Sounds" probably works the best and forms the basis of a scene that gives the teleplay a lovely symmetry. "Falling In Love With Love" is nothing but a showcase for Bernadette Peters, excused as a number that helps to create sympathy for the Stepmother. But it's never really explored, nor is the need to create sympathy for a character that has a couple of moments where she says some truly detestable things to her stepdaughter. The final addition, for the Godmother, is "There's Music In You" is really just a moment where Housten's pop vocals clash horrendously with the song and its regal orchestral arrangement. This probably would have worked better being sung by a "Hollywood chorus" as the wedding took place on screen.

Overall, I still enjoy this version of Cinderella when I pop it into the DVD player. It's a modest entertainment as most made for TV musicals are. But it has magic. And great songs. And the world always needs more of both.

THE PRINCESS DIARIES has a great premise. Mia (Anne Hathaway), a young teenage girl discovers she is a princess and has to decide whether or not to accept the throne. She attends "princess classes" under the tutelage of her grandmother (Julie Andrews), as well dealing with a plethora of "normal" teenage problems.

However, the screenplay is poorly developed and does not invest enough on the changes that take place inside Mia. While things like posture and presentation are important assets, Mia's inner journey should be even more important. Anne Hathway manages to make us care about her final decision, particularly in the final third of the film. Julie Andrews as her grandmother, the queen, is a delight - absolutely charming and graceful, with a fine grasp on the responsibility she has as a royal and the lessons she learns about becoming a grandmother. Perhaps the relationship between the queen and the character Joe could have been developed more; there are a few hints that never really come to fruition.

The other thing that lets this film down are the production values, which seem little better than TV quality. Indeed, the whole outing feels more like a television pilot episode or a television movie from one of those 1980s and 1990s Disney offerings like NOT QUITE HUMAN or A BRAND NEW LIFE. "Tweenagers" will probably enjoy this one a lot.

It's a pity, as this film has the potential to be everything it claims to be: 'hilarious, hip and heartwarming'. Especially as the people involved have a lot to offer. But on this project, they don't quite manage to pull it off.

I enjoyed this film. A lot. Granted, it's not perfect - there is a lot of room for development and fine-tuning, but its a pleasant diversion - and one that would be a wonderful launchpad for many things, most feasibly a weekly one hour television drama series.

I also enjoyed seeing such normal people on screen. Normal people, doing the things that normal people do today: talking, laughing, crying, reminiscing.... Sure, writer-director Greg Berlanti remains within a defined zone in terms of his representation of homosexuality and homosexuals, but the group of men he explores are presented comfortably and confidently. They become our friends, because they are like people we know. We see ourselves in them. And we have to face the similarities between their stories and ours - and there are parallels for everyone, whethere hetero-, homo- or somewhere in between.

A minor quibble - I think that the score would have been so much stronger had at least one of the Carpenters' classics been an original. Maybe "We've Only Just Begun", since that is part what lies at the heart of this film.

Jaded film buffs will not like THE BROKEN HEARTS CLUB. But so what? I don't think its targeted at that market anyway. BHC is a reminder that homosexuals are more than just 'gay' - there are people behind the labels - behind any label - and the challenge is for all of us to find that grain of self which is at the core of each individual's existence.

Somehow, I had missed joining in on the phenomenon that was HARRY POTTER. I had not read any of the books and missed most of the hype preceding the film. In fact, I hadn't even seen the trailer. So it was with the healthy anticipation that I generally have for the movies I choose to see that I bought my ticket and entered the cinema where I would be transported into a world that returned me to the fantasies of my childhood. I have since read the books and come to understand some of the gripes of the many purists who have lamented some of the changes in the film. But despite some of these (fully justified) complaints, this film will see me return for several further viewings.

HARRY POTTER AND THE SORCERER'S STONE captured my imagination from the first shots of Dumbledore as he douses the lights in Privet Drive until the camera pulls back in the final shots of the Hogwart Express taking the young wizards- and witches-in-training back for their holiday after a busy term at Hogwarts. The film takes great care in creating the magical world to which Harry travels and the characters that inhabit that these fantastic places are beautifully brought to life by a set of actors who serve this film in no uncertain terms.

Of the child actors, Rupert Grint fares the best as the irrepressible Ron Weasly. His work in the film perfectly balances the delightfully waspish Emma Watson as Hermione Granger and the delicate work of Daniel Radcliffe as the title character. Some have criticised Radcliffe's work as a trifle bland: however, I feel this may have been a conscious choice on the part of the director Chris Columbus in the creation of a central everyman character with whom audiences can identify and onto whom they may graft their own personalities, dreams, wishes and fantasies. The other youthful characters' roles are greatly reduced from the book, most lamentably Neville Longbottom, whose arc in the book was truly touching, and Draco Malfoy, who does little more here than establish himself as a nemesis to the Potter/Granger/Weasly trio. The other regretted loss is Hermione's, robbing her of her climactic moment in the challenges that face the friends as they decode a series of charms in their quest for the sorcerer's stone. The adult cast is uniformly brilliant, with a Gandalfian Richard Harris as Albus Dumbledore, a suitably strict Minerva McGonagall in Maggie Smith and a perfectly slimy Alan Rickman as Professor Snape. Robbie Coltrane is outstanding as Rubeus Hagrid.

The film and my subsequent reading of the books have turned me into a HARRY POTTER fan. Like everyone else, I anticipate the fifth book impatiently and can't wait for the next film. I can't help wondering however how major the sacrifices in the subsequent films will be. Certainly, the third and fourth books should not be crammed into the comparatively miniscule two and a half hours that was able to serve the first film extremely well. All I hope for with each subsequent film is a journey into the magical world that captured me so brilliantly in what is the finest fantasy film I have seen in many years.

Every once in a while a film gets made that is really bad – but that is, for some reason, enjoyable at the same time. Final Destination falls into this category, as a film that works with an excellent concept, the potential of which is, sadly, unfulfilled.

The film is standard teen horror fare with a twist – the villain is no psycho waiting round the bend, but Death itself and the group of seven must try to find ways to cheat this supernatural power in order to stay alive. The key to solving the mystery is Alex (Devon Sawa) – who has the visions that allow him to save his friends, or ultimately condemn them to the life hereafter.

The fault of this film lies with the sloppy writing and the indifferent direction of the piece. The dialogue is self-indulgent and immature and the level of characterization is poor, with no attempts at development or even a full depiction of the static characters which are presented here. The vision which lies at the heart of the story remains there – it does not surface for the viewer to see; we do not actually care about the characters whose lives we touch by watching the film.

Of course, even the most skilled actors would struggle to perform such poorly written roles as the ones encountered in this screenplay. Devon Sawa, who has lost his boyhood looks, does not have the presence to carry this film – or probably any other film – to success. Ali Larter probably fares the best as the outcast Clear, - the most credibly written character in the piece. Kerr Smith is wasted in his role as Carter; this is nothing more than an attempt to move away from his television persona in Dawson's Creek.

Where this film does succeed, however, is in the elaborate death scenes which punctuate the narrative, creating an horrific and paranoiac tone which is easily taken home with the audience. The handling of these scenes succeeds in creating large amounts of tension, and the outcome is disturbingly cathartic for those who witness them.

Final Destination could have been a great film – there are parts which spring to life, but as a whole the piece remains a mediocre study of the way in which we view death – and life.

Scream 3 is the much anticipated sequel to Scream and Scream 2, bringing the trilogy to a satisfying close. What is missing, though, is the freshness of its predecessors and Scream 3 almost seems like a rehash of what we have seen before. Of course, we haven't and the average audience member will still have difficulty in guessing the identity of the murderer.

As far as plot is concerned, we are back in familiar territory with someone charging around in mask and cape, with a telephone to torment his/her victims before stabbing them. For the details, go see the film - I'd rather not spoil anything for those who haven't seen it yet.

Neve Campbell returns as Sidney, but her character has been softened incredibly. Although Sidney is still capable of delivering the goods when she needs to, she has basically withdrawn from life in the outside world. Campbell is, as usual, lovely as this tortured young woman but should now look for something to stretch her considerable talents as an actress. David Arquette and Courtney Cox Arquette are also back as Dewey and Gale Weathers, and it's good to see Jamie Campbell back as Randy - albeit only in a video flashback. New and notable to the Scream movies is Parker Posey who walks away with the film as the actress who is playing Gale in the latest "Stab" movie. Also of interest are the cameos by Jay and Silent Bob (of the Kevin Smith films Clerks, Mallrats etc) and Carrie Fisher as the archive secretary, Bianca Burnett.

Scream 3 does stand on its own feet. It has some great moments of tension and one amazing twist at the end - so go and be scared before someone tells you the end!

"For The Boys" is the story of two people - the irrepressible Dixie Leonard (Bette Midler) and the instantly dislikable but ever popular Eddie Sparks (James Caan). Set against the backdrop of wars in which the United States has been involved, the film moves from station to station as the pair entertain the boys while they bicker and fight amongst themselves.

The film starts with an aged Midler telling a studio assistant (Arye Gross) her tale, starting in the forties with World War II, moving through the was in Korea and climaxing in Vietnam. Along the way, she gets to sing a few classic tunes, including "Stuff Like That There" and "P.S. I Love You, as part of the stage act of comedian Eddie Sparks.

Bette Midler delivers a fine performance as the embittered Dixie Leonard who has seen it all in fifty odd years in the business. She layers her performance with emotion after emotion and has the gift of bringing out that quality in her fellow actors. The highlight of this film is her understated performance of "In My Life" at the small Vietnamese camp - truly a moment when the world stops turning and we are graced with a glimpse of heaven. James Caan, playing a quintessential son of a bitch, is less comfortable in his role but has some fine moments opposite his dynamic co-star.

The purpose of this film is not to document the wars which form such an integral backdrop to the plot. It succeeds primarily as a story of people - their suffering and their joy is real and it affects the audience in no uncertain terms. You will either love or hate this movie. Either way, take the time to decide - its worth the screening even if only for the divine Miss M.

For many people, the adventures of Winnie the Pooh and his friends in the Hundred Acre Woods represent a pinnacle of childhood. Disney's adaptation has immortalised the best of the classic Milne stories and provided the world with an animated film that remains unsurpassed for its good nature and unadulterated joy.

Three stories have been synthesised for this feature: Winnie the Pooh and the Honey Tree, Winnie the Pooh and the Blustery Day and Winnie the Pooh and Tigger Too. The featurettes are linked by a narrator who nicely blends the lines in this episodic movie. The vocal performances are all excellent, with Sterling Holloway as the tubby bear of the title and Paul Winchell as his bouncy pal, Tigger. Also a standout in the small cast of characters is Eeyore - voiced by Ralph Wright - whose many one liners cater for even the grouchiest of grown ups in the audience.

Disney has added a few neat little touches to Milne's source material, including the Gopher who runs around proclaiming "I'm not in the book, you know!". But the studio has stayed true to the skew logic that is at the heart of these classic stories - and that is why this film works. Watch this one whether you're looking for some good, clean entertainment for the kids or if you just want to return to the happiness of your childhood: it's a great film for everyone.

The Beach, Danny Boyle's new film, is a philosophical exploration of the concept of Paradise. A postmodernist slice of life is served up with splendid cinematography, stunning locations and a cast that tries very hard. But the adaptation of Alex Garland's novel is underdeveloped, not allowing much scope - or script - with which the actors can work.

The basic plot follows Richard (Leonardo DiCaprio) and his quest for finding something different. When a raving lunatic (Robert Carlyle) provides a map to a paradisiacal island, Richard sets off to find the place, with two French tourists (Virginie Ledoyen and Guillaume Canet) in tow. They find the beach, which indeed seems to be a heaven on earth, and are inducted into the multi-national community under the instruction of its matriarch, Sal (Tilda Swinton). The question is: how long can this paradise last before it is lost?

DiCaprio does as much as he can with the rather shallow character of Richard - this actor is developing his skills quite admirably, although none of the anti-DiCaprians would care to admit this. He layers his performance with a nice dash of cynicism - just enough to balance the idealistic world which is presented to the audience. Swinton is impressive as Sal, in a very Apocalypse Now-type character and neatly captures the conflicting values of what it takes to preserve their paradise. Ledoyen has little to do but look alluring and Canet, as her husband, is wasted in what could have been developed into a solid subplot. Carlyle is perfect in his cameo as the man who provides the means for finding the island.

Boyle has set a credible standard with Trainspotting and Shallow Grave, but does not provide a similar film "experience" with The Beach. Much of the fault lies with John Hodge's superficial screenplay, which skims over Garland's book and tries to soften the blows which are dealt in that text. Although there are very good sequences within the film, the piece jars as a whole and really drags through the middle of the story.

This could have been a great movie, falling short as a result of the lack in balance between story and pictures. The pictures are nice, but a substantial story is what should be provided as a solid basis for any film - we are after all adult audiences watching a film about grown up issues.

The Deep End of the Ocean is based on Jacquelyn Mitchard's bestseller, which was the first prescribed book for members of Oprah's book club. Unfortunately, Mitchard's tale of a mother's search for her kidnapped son has been badly adapted for the screen - a fault that the talented cast cannot overcome. The plot deals with the emotional turmoil of Beth and Pat Cappadora after their son, Ben, goes missing at Beth's high school reunion. The chief failure of the movie is in the screenplay - simply, too many stories are told in The Deep End of the Ocean. Schiff (who adapted Lolita for the screen) does not focus the story on Beth or Pat or Ben or Vincent and a mish mash of incomplete vignettes is the result. The characters are rather stereotypical, having little motivation behind their frequent emotional externalisations. Similarly, the confrontations between the family members in the rarely display the consequences that would naturally follow such arguments - the scene where the Cappadoras debate where Ben should spend Thanksgiving are never resolved - and events tie up a little too neatly at the end of the 105-minute movie. Ulu Grosbard has established a good name with films like Straight Time (1978) and Georgia (1996), but shows a lack of sensitivity in the pacing of scenes in The Deep End of the Ocean. The first section, where Ben is kidnapped and the Cappadoras search for him is uneven and seems overlong, almost like a film in itself. The second section is better, steadily building towards the climax of the film. It is this section that will use up the tissues - although this is as a result of gross emotional manipulation, more typical of those Hallmark television movies than a large budget Hollywood tearjerker. The cast do the best they can, with Pfeiffer faring best as the suffering matriarch. Her performance is powerful, layered with nuances of rage, guilt and hurt - without unnecessary melodrama and over-the-top angst. Pfeiffer, a dedicated mother herself, obviously understands what this role means and how terrible a mother must feel when she fails. Williams provides good support for Pfeiffer, matching her well as the equally suffering husband. Goldberg, as the detective who handles the case, gives a standout performance in an almost-a-cameo role. Kapelos likewise provides a solid characterisation as Ben's foster father. The children in the movie are also unusually good - perhaps too good, as they all appear rather articulate about their unusual situation. Jackson is, by turns, strong and sensitive as the older son and Alexa Vega is fine as the younger daughter. Ryan Merriman has the most difficult task and succeeds in a neat portrayal of Ben's emotional suffering as he chooses between his foster and biological parents. This movie spent too little time being scripted - it's as if the pitch went: 'Well, we have Michelle Pfeiffer, so why bother?' So although The Deep End of the Ocean avoids being sickly sweet, it doesn't succeed in being genuinely affecting either. Oprah discovered a great story when she read this book, but this adaptation was filmed when the search for the screenplay had just begun.