Reviews

Sitting through the new film, "Girl, Interrupted" one feels like you have been down this road before and mostly likely you have. Hollywood has given the screen treatment to mental illness and the institutions that house those afflicted before, from 1948's harrowing, superb "The Snake Pit" to everyone's favorite 1975's "One Flew Over the Cuckoos Nest". In fact "Girl, Interrupted" seems somewhat like a female version of that 1975 film. That said, "Girl" is not a bad film, it has some very good moments, it's just not that fresh and is filled with the typical stock characters that populate this genre, though it does boast a couple of good performances, especially Winona Ryder as the lead character.

"Girl, Interrupted" is adapted from the1993 memoir of writer Susanna Kaysen's emotional breakdown as a teenager in the late 60's. The film follows Susanna (the wonderful Winona Ryder) right after her suicide attempt, which lands her into a mental institution for women. There she comes into contact with the regulars on the floor and ends up forming a bond with the seriously unstable and controlling Lisa (Angelina Jolie), who has already been a resident for eight years. What happens throughout the film is the basic standard fare for this film genre. Getting to know the patients and their eccentricities, patients versus staff, nightly escapades, breakouts, it has all been down before. The film rises above itself when it focuses outside of the institution and the group residents; that is when the film becomes compelling. Such scenes as Susanna slipping in and out of different parts of her life or her one on one sessions with various doctors lift the film from it's retread material and attempts to go beyond the typical fare.

The saving grace of "Girl, Interrupted" which makes it worth seeing is the superb performance by Winona Ryder, giving one of her best performances in years. Her subtle, focused and moving performance helps to ground the film into reality. This is a young girl caught between the two worlds of normalcy and off-kilter and Ryder conveys this perfectly without going over the top. Such though cannot be said about Angelina Jolie's performance of Lisa, the charismatic sociopath. It can be seen why Jolie would be attracted to such a flashy, explosive character, but unfortunately she goes too far over the top and her theatrics drive the character completely off the map of believability, which ends up hurting the picture to a degree. It is only towards the end when her performance is somewhat toned down, but by that time it is too late. The other actresses do okay in their standard stock roles, although Brittany Murphy is excellent as Daisy, a young emotionally disturbed girl with major problems. Whoopie Goldberg does her best work in years as an intelligent and caring nurse and Vanessa Regrave is fine as the doctor of the institution. In fact Goldberg and Regrave's scenes with Winona Ryder are some of the highlights of this film.

"Girl, Interrupted" starts off on a great note, but then becomes standard and somewhat predictable, with a few shining moments throughout. Some reworking of this film could have made it much more than above average. Regardless, Winona Ryder's performance makes this film worth seeing, just as Jude Law did with the over rated "The Talented Mr. Ripley". A Marginal Recommendation. × × × out of 5

Having seen approximately 90% of the quality films of 1999, three performances by a lead actor stick in my mind, Kevin Spacey (American Beauty), Russell Crowe (The Insider) and now Denzel Washington as Rubin "Hurricane" Carter, the boxer who was immortalized in one of Bob Dylan's best songs "The Hurricane". Of those three wonderful performances, I give the nod to the hugely talented and charismatic actor, Washington, who gives a stunning and towering performance as the boxer who was falsely imprisoned for 20 years for the killing of three white people in a New Jersey bar in 1966. This is an Oscar worthy performance of the highest caliber in a powerful film that focuses on racism, political corruption and sheer determination of the human spirit.

Norman Jewison has done a fabulous job of chronicling the tragic life of the great boxer nicknamed "The Hurricane". After being falsely convicted due to a corrupt and racist detective (Dan Hedaya), Carter (Denzel Washington) is sent to prison where he spent 20 years for a crime that he did not commit. Many people, including celebrities such as Ellen Burstyn and Bob Dylan came to his aid, but to no avail. It was not until a young boy (Vicellous Reon Shannon), who became captivated by his story and a trio of Canadian activists that started the ball rolling in full gear that eventually led to his release from prison. While the film is expertly directed with some great black and white fight scenes and the handling of the back and forth time frame, the film does not dig deep enough to explore the issue of racial injustice within the judiciary system during the 60's. It basically uses the racist detective (who is the motivating factor) as the only one involved in this tragic display of injustice. Also the Canadian trio (Hannah, Unger, Schreiber) are a little too righteous and squeaking clean and made out to look like they were the only ones who brought this whole travesty to justice. Regardless, you cannot take away the power of this film or the performance of Washington.

Young Shannon as the black youth Lesra who strikes a bond with Carter does a nice job, the great character actor Hedaya as the racist detective is purely despicable and Rod Steiger who appears briefly as a judge makes up for his appearance in the awful "End of Days". But this picture belongs entirely to Denzel Washington. Washington who has played larger than life characters before as Malcolm X in Spike Lee's 1992 film and South African martyr Steven Biko in "Cry Freedom" gives the performance of his career that should garner him an Oscar. This is a very powerful performance of a man who held onto his dignity throughout his entire ordeal and never let the system beat him down, it is truly inspiring. Washington is strong, moving and explosive throughout; it is this year's best performance in an outstanding year of acting. This is a case of the role and actor coming together for a flawless fit that just ignites the screen.

At 45 years of age, Washington who worked out to fine tune his physical appearance has a body that would put a twenty-something to shame. Washington is one of our top actors today who for the most part gives great performances, but his turn as "The Hurricane" will literally blow you away. Like fellow actor George Clooney, Denzel Washington's career started as a doctor in the brilliant hospital TV series St. Elsewhere in the 80's. Check out one of this year's best pictures that display an actor at the height of his career. Highly Recommend. × × × × out of 5

"We may be through with the past, but the past is not through with us". An important line spoken in the very ambitious and heady film "Magnolia" that just tries a little too hard and test even the limits of the most patient moviegoers. P. T. Anderson, also known as Paul Thomas Anderson, the talented director of one of 1997's best films, "Boogie Nights" has done an amazing job of juggling this large talented cast and weaving them in and out of nine different, but somehow interconnected plotlines. That he is able to make sense out of all of this proves that "Boogie Nights" just was not a fluke. Mr. Anderson has the talent of a great director; he just overshoots too much on this powerful, intriguing, but way overlong film that loses some momentum in its three hours.

In their search for happiness, many of the characters realize that hiding from the past just hinders the progression of a fulfilled life and that no matter what we think, life is a series of events that are all somehow connected with each other and effect all of us. The various plotlines include a lonely, good-hearted police officer, Jim Kurring (John C. Reilly) who falls for a major cokehead, Claudia (Melora Walters), whose father is game show host Jimmy Gator (Philip Baker Hall) who is dying of cancer. Then there is Earl Partridge (Jason Robards), the rich dying man, who has been estranged from his self-help guru son, Frank T.J. Mackey (Tom Cruise), plus Donnie Smith (William H. Macy), former wunderkid, who is now one screwed up adult. These characters and others are searching for some happiness in their lives one way or another, but for some reason it eludes them.

Anderson has put together a most amazing cast as he did with "Boogie Nights" and his first feature, "Hard Eight". He has not only assembled this great cast, but has also pulled some wonderful performances from all of them. Everyone is terrific and has their moments, but four individuals standout big time. Julianne Moore as the depressed wife of dying Earl Partridge gives another great performance (is she capable of a bad one, I don't think so). John C. Reilly, who has appeared in all three of Anderson's movies is excellent as the lovelorn cop, who just wants to do right in this world and meet someone to share his life. It is a focused and subtle performance that is so real. As the coke addicted Claudia, Melora Walters is magnificent as a bundle of nerves, insecurities and anger all combined. It is worthy of an Oscar nomination. Speaking of Oscar nomination, Tom Cruise as the macho self-help guru, gives his best performance since "Born on the Fourth of July". Cruise, who I usually find somewhat bland and limited in his range, is unbelievable here. What an amazing performance, maybe he should take more supporting roles, because he is terrific and shows not only great range, but also a pretty buff body that rivals his peer, Brad Pitt. For the first time Cruise, who I always find lacking sex appeal of any kind, actually sizzles on screen.

Kudos to P.T. Anderson for managing to pull this picture off. Even though it is far from perfect, never the less there is no denying its powerful impact. Accolades also to Aimee Mann (former lead singer of the group "Till Tuesday") for a great soundtrack, what a voice. Recommended. × × × 1/2 out of 5.

Many films in the later part of 1999 came on like gangbusters with huge marketing and advertising campaigns and much hype; some before they even appeared in theaters. Some did not live up to these expectations (Man on the Moon, The Talented Mr. Ripley, Being John Malkovich), others did (American Beauty, The Insider). One particular film though entered very quietly with little fanfare and turned out to be a gem and is maintaining its stay at theaters along with the big guns. That film is the wonderful, intelligent and funny "Liberty Heights", Barry Levinson's fourth in his Baltimore series (Diner, Tin Men, Avalon). Like those films Levinson relies on great dialogue, real characters and good actors to bring it all to life (again its amazing how that works).

"Liberty Heights" explores the issues of race, class and religion mainly through the eyes and experiences of two Jewish brothers, college student Van Kurtzman (Adrien Brody) and his younger brother, Ben (Ben Foster) during 1954. They live in the predominately Jewish community of Forest Park with their parents (Mantegna and Neuwirth) along with their grandmother. Their father owns a burlesque house and runs the local numbers business. They are a relatively normal loving middle class family. But both brothers are beginning to explore the outside world of their Jewish circle and the changes that are taking place within the world. While eldest brother Van is breaking class barriers by pursing a rich upper class socialite, Ben is knocking down the color barrier by starting a relationship with a pretty black classmate. Eventually all their worlds collide to varying degrees and both boys learn and grow along the way. This is a wonderful heartfelt picture with none of the sentimentality that marred "The Green Mile". It is honest with its emotions and does not force them or any message onto the audience. "Liberty Heights" is a true delight and a must see for those who are pursuing all those big guns in the theaters now.

Levinson has created such a rich and wonderful universe that is so real and has chosen a near perfect cast to pull it off. The always-reliable Joe Mantegna as Nate gives a good, solid performance as the patriarch of the Kurtzman family. He is a strong and loving figure for his family and Mantegna does a good job of it. The very talented Neuwirth also does fine work and Richard Kline who was awful as Jack's buddy in the TV show "Three's Company" does an outstanding job as Nat's business partner Charlie, but this picture belongs to the brothers (Brody and especially the young Foster). Brody who has proven himself to be an up-and-coming actor (The Thin Red Line, Summer of Sam) should have a long shelf life compared to some of his flash in the pan contemporaries. His performance shows a very focused and compelling character. But the acting of Ben Foster is pure joy and he carries the picture and lights up the screen every time he appears with his very natural and charismatic performance. This is one talented actor who I hope to see more of in the future. Although both Brody and Foster do not have the so called "movie star good looks" they are in a league of their own as far as talent is concerned. We need less pretty faces that can't act and more of their kind.

Although "Liberty Heights" does not have any of the hype of the other pictures and the acting and directing do not have Oscar written all over them, it is still a great picture that stands tall and can go head to head with all the major contenders out there. Do yourself a favor and check out this wonderful picture, you will not be disappointed. Highly Recommended.

× × × × out of 5

Some folks prefer fat Elvis over skinny Elvis or Rat Pack Sinatra over 40's Sinatra. Same can be said of Woody Allen. Myself, I prefer the earlier Woodman (Bananas, Take the Money and Run, Love and Death, Annie Hall) as opposed to the post Mia Farrow Allen. He was a hell of a lot funnier back then and more entertaining. While "Sweet and Lowdown" does not fit in the later angry Allen category (it resembles more of his earlier period), it is definitely not primo Woody. For me the last great Woody Allen picture was 1977's brilliant and hilarious "Annie Hall", no doubt his best work ever.

"Sweet and Lowdown" boasts a great performance from Sean Penn, looks great and has a great jazz score, but the film for the most part is pretty lightweight and hammers the continuous concept of "genius musician cannot be intimate with another" throughout the entire picture. Underneath it is really not much substance. This mock documentary centers on the fictitious 1930's obscure jazz guitarist Emmet Ray (Sean Penn) who lives somewhat in the shadow of the real life jazz player, Django Reinhardt, Ray's idol. Although Ray is a brilliant guitar player, he just doesn't have his act together. He drinks too much, gambles, is irresponsible, lives beyond his means and has major commitment and intimacy problems (hell, sounds a lot like myself and every other male on the planet). He eventually meets a mute, Hattie (Samantha Morton) that he falls for and eventually leaves for a socialite writer (Uma Thurman) and then begins his trip to self-destruction and obscurity.

Sean Penn, one of the top ten great actors working today, gives a wonderful and winning comedic and moving performance as Emmet, whose eccentricities and ego put him over the edge and hinder his musical career and personal life. Penn as always immerses himself deep within the character to create a role that a lesser actor would have made into a caricature. Now this is the actor who should have played the title character in "The Talented Mr. Ripley", what a different and much better picture that would have been. Samantha Morton as Hattie is also wonderful in a supporting role. Without any dialogue she conveys so much through her body language and facial expressions. It is a performance worthy of an Oscar nomination, the kind that the Academy loves. Uma Thurman, who is a hit or miss with me, seems out of place in this picture. First off, I don't think it is that good of a performance and second, I found her, not the character, annoying.

"Sweet and Lowdown" is being characterized as a comedy, and while there are some funny lines, I did not find myself laughing that much (at least I laughed more than once as compared to the unfunny "Being John Malkovich"). I expected much more wit from Woody Allen and much more period. I guess you could call this Wood-lite. The picture just does not have much substance to it nor does it really go anywhere. If it were not for Sean Penn's bravura performance, there would not be really anything here. After all these years and personal turmoil, maybe the Woodman has finally run out of steam, I hope not. Not Recommended. × × 1/2 out of 5

My two-month high on life has been in a major funk this past week and "American Beauty" is just what the therapist ordered. This spectacular, dark, funny film should be added to the best 100 films of all time. This is filmmaking at its best and if you only see one movie this year, make it "American Beauty", it doesn't get any better than this.

Lester Burnhan (Kevin Spacey), 42 years old is in one hell of a major funk, even though he appears to have it all. A well paying job, a beautiful house along with a beautiful wife (Annette Bening) and a smart daughter (Thora Birch). But deep down and really not that deep, Lester is dying inside with not much to look forward to. Then two things happen in his life, he walks out of his soulless job and he becomes sexually fascinated with his daughter's high school friend (Mena Suvari). Soon Lester is recapturing his youth and living life the way it should be lived. He chucks his mundane existence for the happiness that he and all of us deserve, but of course like everything in life, there is a price to pay. One of the characters in "American Beauty" says, "You can't go around doing what you what, there are rules in life". Well, Lester proves that statement is wrong and thus begins his self-odyssey in this very funny, intelligent and relevant film. Lester is not the only character in the film to challenge that statement, but he is the only one who does it with such sheer determination, pleasure and joy. Some critics have said that this is a film about suburbia and domestic life, but it only takes place in the suburbs and focuses on one particular family, this film go much deeper than that. The heart of this film is about the walls and cages that we trap ourselves in that we think will bring us happiness, only to find out that they don't and that is the simple things in life, the beauty to speak of, that does it for us.

Every once in a while a film clicks completely together with the writing, directing, acting characters the whole kit and kaboodle. Well, "American Beauty" is complete perfection. There is not a false note or move in this entire movie, not one small weakness or flaw. Director Sam Mendes and writer Alan Ball have put together a masterpiece on life in the last part of the 20th century and some of the best performances on screen this or any other year. The wonderful Kevin Spacey's smugness has never been put to better use than here. Hands down, this is the best performance by an actor this year, an Oscar winning performance period (don't even mention Jim Carrey in the same sentence). Annette Bening has never had a better role or been this good in her entire career. Just maybe this will put her back on the map other than as Warren Beatty's wife. It is such an honest heart-felt performance as the unhappy wife who is dead inside, but just can't come to terms with it. A high price to pay for all the material things that she thinks brings her happiness. Thora Birch as the their daughter Jane and Wes Bentley as the odd next door neighbor Ricky Fitts are excellent, especially Fitts who has some wonderful moments on screen. I sure hope to see more of this young talent, rather than the damn Leo kid.

I did say that the film had no flaws, but there is one tiny one I did not mention. Eventually this movie had to end. This year's best film, don't miss it or if you have already seen it, check it out again. Highly Recommended. × × × × × out of 5

Critics are praising "Being John Malkovich" and this film is on many a top ten lists, so I guess I am in the minority. Although "Being John Malkovich" is one of the most original and inventive films ever, it just did not stir me that much nor did I find it hugely entertaining nor very funny. Maybe this film was just too bizarre for me, but once I accepted the concept, it still did not make me walk out of the theater saying "wow". This doesn't make sense to me since it has much going for it.

John Cusack plays Craig Schwartz, a brilliant puppeteer who just can't seem to make a living at a craft that he loves. After his wife Lotte (Cameron Diaz, almost unrecognizable), suggests that he find some other means of work until the puppet thing takes off, Craig finds himself working for a filing company, LesterCorp, which is located on floor 7 ½ (a great concept in itself). One day at the office, Craig finds a small hidden doorway behind a filing cabinet. Naturally curious about it, he enters or should I say crawls through this space only to find out that it is a portal into the mind of actor John Malkovich. This portal allows the traveler 15 minutes inside Mr. Malkovich as he goes about his everyday business until eventually spewing the person onto the New Jersey Turnpike roadside (another great concept). Eager about the prospect, Craig informs his co-worker, the ice queen supremo Maxine (Catherine Keener) of his discovery and soon the two become partners in JM Inc., which provides the public 15 minutes of being John Malkovich for $200 a pop. Once Craig's wife Lotte takes the Malkovich spin, she begins to question her sexual identity and her and Craig begin to battle for Maxine's affection through John Malkovich's conscience. (Yes, it sounds totally bizarre and it is, but it all makes sense somehow). I just wished I had enjoyed it much more than I actually did, because it is not only original, but very cleaver. It just did not do much for me.

Spike Jonze, who was one of the soldiers in the film, "Three Kings" does a great job in creating a highly conceptual film that has a lot to say about the public's fascination with celebrities, how we relate to people and how we force ourselves to fit into certain situations. Credit also goes to screenwriter Charlie Kaufman and also the acting here, which is very good. John Cusack and Cameron Diaz do fine work and both have their appearance altered from their usual norm, especially Diaz who downright looks like she need a big time scrub (and that hair, it's hysterical). Cusack has captured the down and trodden performer who has to swallow his pride to take such a meaningless job. His mannerisms are wonderful, all the right little tics. Diaz does a complete turnaround compared to her very strong-willed and tough as nails performance in "Any Given Sunday". She takes a role that could easily been a caricature and turns it into a complete and believable character. John Malkovich does a good job as what else John Malkovich and he is definitely a good sport about the whole thing, but what the hell, you get to have a movie named after you. But the standout here goes to the wonderful actress, Catherine Keener, who always does excellent work ("Living in Oblivion", "Your Friends & Neighbors"). To be able to make even such an ice-cold character as Maxine likable is an accomplishment. It's a very good performance.

So here is a picture that is original, imaginative, witty, well-directed, well acted, but yet I just was not crazy about it. For me all the parts just did not add up to a very satisfying whole although I did enjoy the 2nd half of the film much better than the first and got more involved in it at that point. Check it out though if you want to see something totally unique and original. A hit and miss recommendation. × × × out of 5

Oliver Stone has tackled the Vietnam War (Platoon, Born on the Fourth of July), political assassination (JFK) and the media (Natural Born Killers), now he has set his sights on America's favorite pastime and big business, football, in the very impressive and adrenaline pumped "Any Given Sunday". Al Pacino heads an amazing assortment of actors in one of the best ensemble films to come down the pike, directed ferociously by Stone.

Tony D'Amato (Al Pacino) is the coach of the fictitious football team, the Miami Sharks, which are on a big time losing streak. With the injury of the talented, but aging quarterback Jack Rooney (Dennis Quaid) things look very bleak. But enter 3rd string quarterback Willy Beamer (Jamie Fox) and the Sharks begin to take an upswing turn. As the Sharks begin their instantaneous climb, turmoil begins among the players and with the old school D'Amato and the Sharks owner Christina Pagniacci (Cameron Diaz) attempting to move the team into the 21st century.

The bone-crushing "Any Given Sunday" is hands down one of the best movies about the inside and outside of sports and gives you a front row seat on what it feels like to be on that playing field. This is one intense and caffeine induced film that gives one major rush. The action sequences alone are worth the admission price and I am not even a football fan. But "Any Given Sunday" has so much more going for it including some great acting by this very intense ensemble group. Pacino who was wonderful in the recent film, "The Insider", continues his second chapter of his career that began at the beginning of this decade with "Sea of Love" and "The Godfather Part III". His intense performance of the coach who actually cares about his players is worthy of an Oscar nomination; it is one of the best performances of his career. He balances the strength and weaknesses of Coach D'Amato perfectly in a sport that has changed drastically since he began. Cameron Diaz, a very talented and natural actress, gives the best performance of her short career and holds her own in scenes with the legendary Pacino. Their scenes are as brutal and intense as what happens on the playing field. As the owner of the Sharks, Diaz cuts a very strong figure in a man's world and pulls it off. Jamie Fox of TV's "In Living Color" and "The Jamie Fox Show" gives a break-out performance in the role of the maverick quarterback who rises to the top (too quickly, which is a big flaw of this otherwise excellent film) and alienates his teammates. Known for his comedic talents, Fox gives one hell of a dramatic performance that should get him noticed. Even Elizabeth Berkley, who was so awful in the horrendous "Showgirls" does good work in a small role as a prostitute. I did not even know it was she until the ending credits. The rest of the cast including the still very sexy and beautiful Ann-Margaret does wonderful work.

But for all the great acting going on, this film belongs to director Stone. His camera shots, which include split screens and MTV style sequences with a pounding score of almost non-stop rap and rock music, including Bill Withers classic "Use Me", show Stone in top form. It is great to have him back on top after 1997's dismal disaster "U-Turn". Stone has captured football, warts and all like no one else. He digs into the brutal business and turns it inside out. It is a great look at the inside of this very lucrative sport. But for all the big business deals going on here, the heart of the movie is about the players who live and eat football.

You do not need to be a football or sports fan to appreciate this great movie, I'm certainly not and I enjoyed it immensely. And for all those people out their wanting equal time for male frontal nudity, you've got plenty, with enough time to count every inch. Recommended. × × × × out of 5.

Like the recent film "The Limey", "The Talented Mr. Ripley" took a good bit of time to digest and reflect on. Walking out of the theater with my Italian comrade Americus, I said right off the back, "I did not like it". But after a few days of taking it in, my original opinion is half-right. After a fascinating first half, the film loses steam for me until the last ten minutes. Regardless "The Talented Mr. Ripley" is a cerebral psychological tale, well executed and unlike most cookie cutter films cranked out by Hollywood today (with the possible exception of this year). It also claims an unbelievable performance by Jude Law, whose stock should sky rocket after this, and of course the beautiful landscape of my people, Italy. It is a gorgeous picture to the human eye.

"Ripley" is adapted from the novel by Patricia Highsmith, which first received film treatment in the 1960 French-Italian film, "Purple Noon". It is the late 1950's and Tom Ripley (Matt Damon taking a risk unlike his buddy Ben Affleck), is a young man with no clout or fortune. He is asked by shipping magnate Herbert Greenleaf (James Rebhorn) to go to Italy and bring back his son, Dickie (Jude Law), which Tom lies about knowing from Princeton. Once in Italy, Tom starts to soak up the ambiance of the rich and famous and attempts to take on the role of the upper crust. He works his way into the life of Dickie and his fiancee Marge Sherwood (Gwyneth Paltrow). But Tom's charade is starting to bore Dickie and is being question by those around him, and eventually tragedy strikes Dickie. Tom now take the opportunity to dig in deeper by passing himself off as Dickie to the point where there is no return back to ordinary Tom.

Director Anthony Minghella of the overrated and big yawn "The English Patient" strikes a chord this time around and creates some suspenseful moments and wonderful sexual ambivalence that rings so true in life as we know it, but may not want to admit. Some of his scenes are astonishing including the wonderful scene between Tom and Dickie in the bathroom, while Dickie is bathing. But this film belongs to Jude Law who sets the screen on fire in every scene. You can see his mind working a mile a minute and are never quite sure what he is thinking all the time. It is one of this year's best performances and deserves an Oscar nomination for supporting actor. Unfortunately Law exits the 2nd half of the picture, which then falls entirely on Matt Damon's shoulder. Without the interesting bond between Dickie and Tom, what is left in the second half of this film is a not so interesting murder mystery that only redeems itself in the last few minutes of the reel. Damon captures the shallowness and manipulative side of the character, and the desire to climb the social ladder, but what is missing is the sheer desperation that makes this character so tragic. Some of the other actors here do some very good work including Jack Davenport as Peter who falls for Tom, and Philip Seymour Hoffman as Dickie's obnoxious and creepy friend. The female roles are not as fully realized as their male counterparts and Paltrow and Blanchett probably signed on for the scenery. There is really nothing special about their performances. Jude Law is the one that shines here and Damon must be given credit for tackling a very difficult role.

"The Talented Mr. Ripley" is not for your average movie audience who needs to be spoon-feed everything. This is a highly intelligent and visually beautiful film that probably needs more than one viewing to really appreciate. Recommended. × × × out of 5.

Who exactly was Andy Kaufman and was he a genius or just plain crazy (I opt for a talented mental case)? Well, watching "Man on the Moon", the new film about the life of entertainer Andy Kaufman, who died in 1984 at age 35, will not give you any answers to the above questions or much anything else. Somewhat entertaining, this paper-thin film is basically a kaleidoscope of Kufman's famous routines thrown together randomly, a very expensive, but less informative A&E Biography.

"Man on the Moon" starts off with a great opening credit, briefly touches Andy's childhood and basically shoots straight to his "Saturday Night Live" and "Taxi" gigs and his other famous routines including his very obnoxious and hilarious alter ego Tony Clifton and his wrestling promotion stunts, which practically killed his career. Director Milos Forman and screenwriters Scott Alexander and Larry Karaszewski really make no attempt to explain what made Andy Kaufman tick, it's just one routine after another, with little personal information in between. Just recently A&E's Biography presented an hour on Andy Kaufman and was much more informative and almost as entertaining showing basically the same skits that were recreated in the film, but instead of seeing Jim Carrey, you had the honor of seeing the original at work.

Speaking of Jim Carrey, he has gotten much press even before the movie was released about how he appeared on the set in character and never stopped until the end of filming. He is also being mentioned for an Oscar nomination and has even been promoting himself on the talk show circuit. My opinion, Carrey does a brilliant impression, but that is basically it. He has all the mannerisms down pat, sounds like Kaufman, even looks like Kaufman, but it is more of an impression than a performance. I can't really fault Carrey for this, but the screenplay really doesn't give him much to work with except to mimic Andy's routines. That is a shame, because for the first time, I was able to tolerate Carrey and he was very grounded considering he was playing such a loose cannon. Danny DeVito, as always, is very good as George Shapiro, the talent manager who discovers Kaufman at a comedy club and eventually managed his career. Paul Giamatti also does fine work as Bob Zmuda, Andy's friend and writing partner.

"Man on the Moon" also has some major flaws that should have never happened. Many of the characters such as David Letterman, SNL producer Lorne Michaels and some of the actors for the TV show "Taxi" play themselves. This would have been fine if the film was set in the mid 90's, but they are really pushing the envelope considering that these events took place late 70's, early 80's. Some of the "Taxi" crew look like waxworks, while David Letterman looks like he just walked of his show the other day and said "Okay, let's shoot this baby, I have to get back to my set". Come on, this is Hollywood, use some dye, wigs, make-up to make these folks look somewhat younger. There is also a real cheap shot toward the end of the film. Andy Kaufman is sick with a rare form of lung cancer and tells George Shapiro that he would like to perform one last huge production, then the film cuts to the extravagant concert that Andy did at Carnegie Hall. One problem, this concert was done early in Andy's career, years before he had cancer. Talk about playing on the audience's sympathy. And did we really need over a half hour devoted to Andy's pro-wrestling stunts, they were pretty boring back then, here they almost stop the film dead in it's tracks.

It was great to relive the highlights of Andy Kaufman's career and there is no denying his talents, but "Man on the Moon" left me feeling empty and I'm sure wherever Andy is, he is probably saying "Tank you very much, but no tanks". Not Recommend. × × 1/2 out of 5.

The film business is certainly going out of the 20th century with one hell of a bang. 1999 has had an astonishing amount of excellent films with some of the most powerful acting that I can think of. Just trying to keep up with the slew of great films is a full time job and here at the tail end of the year comes another superb, if slightly flawed piece of filmmaking, "The Green Mile". Like 1994's, "The Shawshank Redemption", "The Green Mile" is adapted from a Stephen King novella and directed by Frank Darabont, who also directed "Shawshank". The Green Mile of the film is the section of the Louisiana State Penitentiary for death row inmates. Tom Hanks is Paul Edgecomb, the head guard of death row, who is battling a nasty urinary track infection, a sadistic guard (Doug Hutchinson) and the crew of inmates, particularly the nasty William "Wild Bill" Wharton (Sam Rockwell). Enter into Edgecombs life, but a new prisoner, John Coffey (Michael Clarke Duncan) who has been convicted of brutally raping and killing two young girls. A seven-foot gentle giant, Paul is convinced that Coffey is not capable of harming a soul, especially after witnessing his unique healing powers that can't be explained. The more Paul gets to know him, the harder it is for him to walk Coffey down that green mile.

"The Green Mile" is somewhat sentimental and predictable, a tad bit too long, starts off at a snails pace, plus the one prison guard is a typical stock villain and the mouse bit (a very cute one to boot) goes on a little too long, but this film is good old fashion story telling with some great acting to help it rise above its minor flaws. It is a powerful and mystical tale that shows the best and worse in humanity. Much superior to "The Shawshank Redemption", "The Green Mile" is one of this years best films that relies on great writing with potent acting. The acting is pretty much flawless and Tom Hanks and Michael Clarke Duncan are being mentioned for Oscar time. Both are very good, especially Hanks, who gives another great performance as Paul, but it is Michael Jetter who deserves the Oscar nomination for supporting actor as inmate Eduard Delacroix. Jetter, a veteran actor of film, stage and television (Evening Shade), gives a brilliant performance creating a very memorable character. It was not till part way through the movie that I realized that the actor was Michael Jetter. It will be a major disappointment if he is not nominated; it is a remarkable performance in a film with some of this year's finest acting. David Morse (St. Elsewhere) as prison guard Brutus also does superb work. This fine actor should be working much more; he is totally captivating while on screen. Overall this is some of the finest ensemble acting this year.

Tom Hanks has good instincts for picking great roles in very good films and "The Green Mile" shows him at the peak of his career. If only more of today's "movie stars" could follow his lead. "The Green Mile", another great film to end 1999 and this century. Recommended. × × × × out of 5.

If anyone was born to direct a horror/thriller film, Tim Burton would be one of the contenders, but during his career, he has never traveled down that road when you think of it. Well the director of such atmospheric movies as "Batman", "Edward Scissorhands" and "Ed Wood" has stepped into that realm with the visually stunning and violent "Sleepy Hollow". Burton has turned the old classic into a Burton classic as only his dark mind can and we as the audience benefit.

"Sleepy Hollow" is based on the Washington Irving's "Legend of Sleepy Hollow" about school teacher Icabod Crane's encounter with the headless horseman, the ghost of a Hessian mercenary who terrorized the area known as Sleepy Hollow during the Revolutionary War. Since we are in Burtonland, things have a certain twist. Icabod Crane (Johnny Depp) is a constable in 1799 Manhattan who dabbles in forensic science, investigating deaths and inventing his interesting equipment to help him along the way. Word travels to the city from a tiny farmland community up north about three mysterious deaths. Iacbod looking for a challenge and a chance to utilize his skills, packs his bags and travels to the tiny village known as Sleepy Hollow. Here the residents including the wealthy Baltus Van Tassel (Michael Gambon) and his daughter Katrina (Christina Ricci) tell him that these horrible deaths are the work of the headless horseman. Iacabod, a sort of precursor to the X-Files Scully, governed by logic and science, believes that the work is not supernatural, but human. And so begins his investigation as more and more murders take place.

Burton has created another wonderful imagined world that just takes you away for two hours. It is a stunning film to look at, as are most of Burton's films. His 18th century Manhattan and Sleepy Hollow are a world unto themselves and Burton draws you in immediately. The action sequences with the headless horseman are astounding and truly haunting. Each scene is so beautifully staged with great suspense. Compare that with the dreadful and banal "The Bone Collector" that deals with the similar subject of a forensic expert investigating serial killings. Reading "The Legend of Sleepy Hollow" as a child I always found it more humorous than terrifying, but Burton does a magnificent job of bringing out the darkness of the story which actually frightened me compared to so many trite horror films today.

Burton's Icabod Crane is not your typical hero, but a flawed human being with weaknesses (he gets somewhat squeamish with blood, guts and spiders). Johnny Depp creates another memorable character in a long line of quirky signature roles that have made him one of our finest risk-taking actors. Depp fully embodies the character of Iacabod, warts and all. He brings much depth, compassion and humor to the character. It is a fully realized performance. The other performances are good, especially the very sexy Miranda Richardson. The main weak link, unfortunately is the talented Christina Ricci. It is not her fault; she is just very miscast in the role of the innocent Kristina. She does not quite pull it off and comes off too modern for this period piece and it hurts the film to a certain degree. Watching her performance, all I could think of was Winona Ryder; she would have been perfect. Regardless of this flaw it is still a movie worth seeing and "Sleepy Hollow" shows that Tim Burton is one of our most gifted, imaginative and original directors that also shows his love for movies. Casting the great Hammer horror actor Christopher Lee in a bit role shows that love as in the same way he cast the late Vincent Price in his classic "Edward Scissorhands". "Sleepy Hollow" is another gem from Burton. If you are bringing children, which there were some in the theater, the decapitation scenes are gruesome and violent. Recommended. × × × 1/2

Critics at large have their work cut out for them when it comes time to compile their top ten film list of 1999. This year has been extraordinary as far as high quality films go. One thing is for certain; "The Insider" will grace many a list. "The Insider" is not only one of the best films of the year, but of the past decade. There is no doubt that this superior film will rank in many Oscar nomination categories. "The Insider" is based on the 1996 Marie Brenner's Vanity Fair article "The Man Who knew Too Much" about Dr. Jeffrey Wigand, a cigarette research & development executive who was fired by the tobacco company he worked for. The film is a behind the scenes look at the events that took place that caused CBS's "60 Minutes" to blow one of the biggest stories of the decade concerning the negligence of the tobacco industry.

After Jeffrey Wigand (Russell Crowe) is fired from his job, he is pressured by "60 Minutes" maverick producer Lowell Bergman (Al Pacino) and his own conscience to blow the whistle on the tobacco industry for misleading the public on the dangers of cigarettes. But at the last minute executives at "60 Minutes" decide to pull the plug on the interview segment between Wigand and TV news journalist Mike Wallace (Christopher Plummer). In the process Wigand, who went out on a major limb, has his life destroyed as he gets caught in the crossfire between the tobacco company and "60 Minutes". The tobacco company attempts to discredit him by exposing everything about his life and "60 Minutes" practically abandons him after deciding to cancel the segment, which might have a negative effect on the sale of CBS to Westinghouse. Producer Lowell Bergman was the only one from "60 Minutes" that managed to stick to his guns and a good portion of the film focuses on the relationship between Bergman and Wigand.

The true story in itself is a remarkable piece of drama with the high power villainous tobacco company, heroes Wigand and Bergman, the responsibility of journalism, etc. Director Michael Mann turns what is already a compelling story into a superb and brilliant piece of filmmaking. Although known for his stylish action sequences ("Heat", "Manhunter", "The Last of the Mohicans"), Mann does a masterful job with this intricate and complicated media event. The terrific script and cast make his job even smoother. Al Pacino heads an amazing cast of actors. Pacino, who I have always admired, sometimes lets his histrionics get in the way of his performances, but here in the character of Bergman, he give a understated and very focused performance, one of his best in some time. Mann seems able to rein Pacino in as he did with "Heat" and the result is obvious. But the true stars of this film are Russell Crowe and Christopher Plummer, both names, which should be mentioned during academy nominations. Crowe, who was so powerful and amazing in "LA Confidential", is just pure brilliant here as Wigand. Crowe plays this emotional problematic and complex character the complete opposite of his LA role by showing a man imploding from the outside in. He is just mesmerizing to watch as he deteriorates from the pressures that surround him, including his domestic life. A magnificent performance. Christopher Plummer, an excellent actor that we do not see enough of, is totally compelling as Mike Wallace. His monologue of "how he will be remembered" is truly moving. Playing a live personality is not an easy task for an actor and Plummer pulls it off flawlessly without even looking remotely or sounding like Mike Wallace. He captures Wallace perfectly and is so believable in the role. Others here do good work including Debi Mazar, who finally lets go of her tough New York gal that she is known for, unfortunately the talented Lindsay Crouse is wasted as Bergman's wife and Diane Verona does not fare very well in the unsympathetic role as Wigand's wife. Her performance seems out of place with the rest of the cast.

"The Insider" reminiscent of another great film, 1976's "All the President's Men" shows Hollywood at it's best. "The Insider" should be on every film buffs list. Highly Recommended. × × × × 1/2

I am a sucker for cheesy Satan horror flicks and after seeing the God awful trailers for End of Days, this film seemed to fit the bill (Stigmata is already on the way to the video stores). Of course I went in the movie theater with very low expectations and to be somewhat entertained and in that sense I got just what I expected. Although not quite as awful as say the most recent "The Bone Collector", End of Days is not that good either. Low expectations work every time. As far as I am concerned there hasn't been a superb Satan movie since 1973's classic, "The Exorcist" and to this date nothing has even come remotely close. End of Days does not even try, but it does take from not only "The Exorcist" but heavily from "The Omen" and "Rosemary's Baby" too. So mix those three excellent films together, take out the good parts, thrown in a lot of biblical and prophecy nonsense, add gigantic special effects, toss in the idiotic millennium ploy, contract a horrible action star to play the lead role, say Van Damme, Stallone, or Schwarzenegger (Arnold's the winner here) and you get the jest of this flick.

Schwarzenegger plays Jericho Crane, a suicidal, alcoholic ex-cop who is now in the protection business assigned to watch over a Wall Street Banker (Gabriel Bynre). For reasons unknown, as is usual for these types of movies, Satan possesses Bryne. Bryne is in search of the chosen young girl, Christina (Robin Tunney), born twenty years ago during some strange celestial alignment that only the Pope and his gang are able to decipher. Satan needs to impregnate Christina between 11pm and midnight on December 31, 1999 so that the gates of hell will open and the world as we know it ends. Yea, we heard this before. In the most ridiculous and ludicrous Biblical babble, a priest (Rod Steiger) tells Jericho and Christina that the symbols and numbers of the devil are usually upside down or sideways in dreams, hence 666 becomes 999 (how convenient). How this fits into 1999, except 999 being the last three digits, is beyond any logic. Well anyway we have the match of the century or should I say millennium between Satan and the muscle bound ex-cop. What starts off as somewhat interesting just gets worse and worse until the final confrontation, which looks like the cutting room floor of "The Terminator". Although not convoluted like most films in this genre, too much does not make sense. Why was Bryne's character chosen to begin with, if the Vatican knew about this why weren't they Y2K compliant and if Satan is not able to die by bullets, subways cars, etc. what is that ending all about. With films like this, why even ask, the best that you can hope for is to be entertained. But End of Days is not really that entertaining.

Schwarzenegger is at his worst here as the ex-cop with mental problems whose wife and daughter were killed. This seems like a major stretch for the strongman, but when you really look at it the only reason for making the character suicidal and alcoholic was cause it probably looked good on paper. Other wise with the exception of Jericho aiming a gun at his head in the beginning and major pill containers on his dresser, there isn't much there. Maybe that's a good thing because Arnold can't even pull off the little bit that he has to work with. He has never been more boring or stiff as he is here. Gabriel Byrne, who can be very good at times, should have taken a lesson from Al Pacino's "over the top" performance in "The Devils Advocate". Satan has never been less menacing or interesting as Bryne here portrays him. Bryne basically sleep walks through this role and is almost a bore as Schwarzenegger. Piece of advice Gabriel, fire your agent. Kevin Pollak is basically wasted as Arnold's partner and the total lack of chemistry between the two does not help. Poor Rod Steiger, an actor of great talent, has probably one of the worst records in picking film projects. He is not bad here, but by all means it does not show off the actor who wooed audiences in the macabre 1968 film, "No Way to Treat a Lady" were he played a flamboyant serial lady-killer. Maybe he needed the paycheck, other wise I can't figure out what he was doing in this mess.

This picture could have been much better with rewrites and a competent actor in the lead role. But I guess the executives thought that Arnold would be a draw. The thing is this is not the type of movie that Schwarzenegger fans go to see and the "devil/horror" fans don't want to see Arnold, so I don't know whom this movie was marketed for. Either way fans of each will be disappointed. I think what sold this picture to the head honchos was the millennium theme, since it does not come around every other year.

One last gripe. Why can't a movie that takes place in New York, but filmed on Los Angles sets make an attempt in realism. New York subway cars have been graffiti proof for years and the big old closed up movie houses in Times Square have not been there for several years. Get it right every now and then. Not Recommended. × ×

Director Martin Scorsese and screenwriter Paul Shrader, these two names alone stand for excellence and brilliance, put them together and you havebrilliant film making history as witnessed by their former collaborations ("Taxi Driver", "Raging Bull" and "The Last Temptation of Christ"). Add the totally compelling and very real "Bringing Out the Dead" to that list. Based on the novel by Joe Connelly, a former EMS worker, "Bringing Out the Dead" follows three long nights in the life of New York City paramedic Frank Pierce (Nicholas Cage) as he navigates through the life and death situations of the last era of the "mean streets" of New York City, the early 90's, all the while attempting to hold on to his sanity by a thread.

Scorsese creates a very real New York (before the gentrification of the Giuliani era) that is rarely seen in films. This is not the flashy and glitzy New York that is often shown in most movies. He goes deep into the psyche of a city that is crammed with 9 million people, some who are struggling just to stay afloat. As the character Mary says, "You have to be strong to survive in this city." Some of the scenes in the movie are so memorable and haunting such as Frank's hallucination of actually pulling people literally from the steam shrouded pavement and bringing them back to life and the harrowing, almost Christ-like sequence where Frank is saving a drug dealer from death as he dangles from a balcony.

Nicholas Cage, one of our finest actors working today, gives a brilliant performance of great emotional range that is draining to watch. You literally see him coming unglued piece by piece. This is his best performance since "Leaving Las Vegas". Patricia Arquette (Cage's wife) gives a very moving and subtle performance of a person who has been to hell and back while struggling to maintain some balance in the jungle. Goodman, Rhames and Sizemore turn out good performances as always playing Cage's co-pilots in the nightly journeys. Also standing out are Latin singer, Marc Anthony as a homeless crazy and Cliff Curtis as a drug dealer who provides an "oasis" for the stressed-out individuals of the city. An excellent director and a great script are a perfect formula for producing top-notch performances by actors and Scorsese and Shrader bring out the best in theirs.

With it's story of the lead character Frank cruising the streets making narrative comments about life in the city, comparisons will be made naturally to Scorsese's other brilliant work "Taxi Driver" with it's main character Travis Bickle, but those comparisons are normal and stop right there. Where Travis Bickle wanted to save people who did not need saving, Frank Pierce reaches out to people who desperately need saving, but does not always have the power to save as in the case of the homeless girl Maria, who haunts him constantly. Also Scorsese is too highly intelligent, creative and the ultimate professional to retread the same waters, he never takes the easy road. A Scorsese film is like any great film, it takes time to take it in and digest, because there are so many different layers added that need to be looked at long after the last reel finishes. This is a powerful piece of filmmaking proving once again that Martin Scorsese is one of the all-time great directors of this century. Highly Recommended. × × ××

Newflash: The world is coming to an end, you have had months to plan for it, now you are down to the last 6 hours. How do you spend them? Spend it with love ones, party like there is no tomorrow (which will be the case), have a spectacular dinner, watch 6 hours worth of the best X-Files. Well, that is what the characters of this wonderful, thought-provoking and basically simple Canadian film are dealing with. From it's great opening with the Fifth Dimension's "Last Night (I Couldn't Get To Sleep at Night)" to the mesmerizing final five minutes with Pete Seeger's "Guantanamera" playing, "Last Night" will stay with you long after you leave the theater. This end of the world picture has none of the Hollywood treatment, that is there are no gigantic meteors hurling from space or massive volcanic eruptions destroying everything in it's path, just good old fashion dialogue with interesting ordinary people caught up in an extraordinary event. This is a well-crafted, intelligent, quirky, quiet film often humorous and sometimes poignant.

While most folks have headed to the "hills", some destroying the city and others just hanging out, Patrick (Don McKellar) just wants to spend his last few hours by himself relaxing in his apartment. But first he has to endure a Christmas dinner (even though it's not Christmas) with his immediate family. After leaving, his plans of a quiet uneventful last night do not quite turn out as he expected. Sandra (Sandra Oh) picking up a few things at an abandoned supermarket and finding that her car has been the victim of some folks just "letting off steam", wants to get back to her husband then finish off the evening with a double suicide. Patrick's buddy, Craig (Callum Keith Rennie) has been going through all types of sexual escapades for the last two months and wants to go out in style by finishing off with a black hooker, his high school French teacher (the once beautiful, but looking somewhat haggard Genevieve Bujold) and a virgin. All of this takes place while the city's radio station is counting down the top 500 songs of all time, including many K-Tel gems like the DiFranco Family's "Heartbeat, It's a Lovebeat" and Edward Beer's "Last Song".

"Last Night" starts out pretty much benign with everyone going through the motions as if the end of the world is not that big of a deal, but as the hours dwindle, a sense of urgency is slightly felt, although not to the point that makes the film downbeat or maudlin. The film is filled with plenty of humor and some sly wit, especially about cell phones and the progression of the automobile; as one character puts it "the design of the car pretty much peaked in the 70's, 1972 to be exact". The writing is smart and writer, director and star Don McKellar knows that there is no need to push to extremes, he keeps it simple as it should be. Isn't the end of the world the greatest extreme to begin with, no need to add to it. His characters are all well developed and real, including the smaller roles. McKellar knows how to write for actors and being an actor himself that should come as no surprise. The majority of actors are unknown, at least here in the states and that is very refreshing. But refreshing does not cut it if the acting is mediocre or bad, but all involved do excellent work with simple, understated performances. Each actor captures the heart and soul of their characters without pushing or giving in to sentimentality. McKellar and Oh turn in some impressive performances, but Rennie, Bujold and Cronenberg also do good work,

Yes the film makes you wonder how you would spend the last 6 hours, but it goes deeper than that by having you examine your life regardless of the time and figuring out what is important and what is not in regards to your own happiness. The world is not going to end in the near or distant future, but eventually our own personal worlds will, whether it be next month, next year, 10 years or 50 years from now. This totally entertaining and thought-provoking film is a great wake-up call to put things in perspective. I just thoroughly loved it. By all means add this film to the top of your must see list, it is one of this years best. Highly Recommended.

The very stylish and simple "The Limey" has me quite baffled. After digesting this movie for a while, I am still not quite sure what to make of it and more importantly, what exactly is it about. On the surface "The Limey" seems like a straightforward geriatric "Deathwish" with its theme of revenge. Go deeper and it is more a character study of a man who has devoted his entire being to a "life of crime" and dealing with a culture that he is not entirely familiar with. Look sideways and it deals with hard core men who are over-the-hill attempting to hang on to their lost youth and vitality by being tough (even though their bodies can't quite cut it anymore), wearing expensive designer suits with tinted glasses and having very young beautiful women by their side. Whatever the case may be director Steven Soderbergh, of the very sexy and stylish but much more superior "Out of Sight" with George Clooney and Jennifer Lopez, knows who to handle the crime drama/thriller with panache and style like no one else.

Dave Wilson (the very good Terrence Stamp), a smart, intense criminal just released from prison heads to LA from London to look into the somewhat mysterious death of his daughter, who he barely knew. He believes she died at the hands of her boyfriend, legendary and majorly rich record producer Terry Valentine (Peter Fonda) and will not stop until he tracks him down for answers.

The plot here of avenging father seems pretty much lame and not that interesting or complicated at all, but maybe that is the point, not everything in life is extraordinary, in fact much of life is standard, simple and uneventful. But the plot does not so much drive this movie as do the characters. In a world of 16-year-old superstar models, actors and singers, it is totally refreshing to see a movie where the majority of characters are over 40, many over the sixty mark. Even the hitmen of this movie are past their prime. These criminal characters are not your typical stock characters of most crime films, some are regular Joes who happen to have chosen crime as their career aspirations and deal with the same problems as the typical 9 to 5 office worker. As the one hitman hired by Valentine's head security Avery (Barry Newman) says, "I embrace my lifestyle".

While the acting is top notch, especially Stamp, Fonda and Newman, the real star of the film is director, Soderbergh and especially cinematographer Ed Lachman. Soderbergh cuts so many different scenes back and forth with a flair that I have not experienced yet as with a character speaking in one scene and finishing the sentence in another. His use of flashbacks of a young Terrence Stamp incorporating Stamp's 1967 film, "Poor Cow", are not only genius but a great homage to the actor. Also when we first meet the Fonda character, the background music has lyrics that include "easy rider is a curse". Just great. He also seems to get amazing performances from his actors as he did with Clooney and Lopez in last years "Out of Sight". Fonda still riding high from 1997's "Ulee's Gold" does well with the character of Valentine, showing a very vulnerable, insecure and weak man who hides behind wealth and power. Stamp delivers an intense and powerful, yet totally focused, subtle and real performance that is very rare in this film genre. It is a memorable performance and character. Cinematographer, Lachman, does an amazing job with shots that are standard fare, but gives them a different angel that make them stand out such as a scene where Wilson tosses one of Valentine's body guards over a balcony into the canyon below. Your typical cinematographer would have focused on this. Instead Lachman has this scene in the far background while the main shot is of Valentine having a good time at his party feeling totally safe and relaxed in his multi-million dollar home.

So the bottom-line, is "The Limey" a great film, I don't think so. Did I love it, not really. Was I bored with it, no quite. I guess it captured my interest in a different and quiet way that most films don't and for that I recommend it. Also when was the last time you saw 70's semi-icons, Barry Newman (TV's 1974 Petrocelli), Leslie Ann Warren and once hunky Andy Warhol mainstay, Joe Dallesandro. Recommended.

Hollywood loves to make serial killer movies, unfortunately not too well. Within the past decade only a minute group was superb (Henry: Portrait of a Serial Killer, a horrifying character study, the highly intelligent Silence of the Lambs and the stylish and sinister Seven), the rest fall into the mediocre to awful category. Unfortunately The Bone Collector falls into the latter. I say unfortunately because The Bone Collector is based on Jeffrey Deaver's most chilling and interesting, if somewhat flawed novel of the same name. After reading the book at a breakneck speed, I really wanted this movie to be good or at the least, give me chills.

Lincoln Rhyme (Denzel Washington) is a brilliant forensics specialist who career is practically over after a horrible accident four years ago that has left him completely paralyzed except for movement in his face, shoulder and his right index finger. Bedridden to a life of misery which he decides to end with the help of a doctor, Rhyme is called upon to help track down a brutal serial killer who picks up his victims via cab and then tortures and kills them, leaving behind sets of intricate clues. Enter rookie police officer Amelia Donaghy (Angelina Jolie, with an unusually pumped up set of lips) to become the so-called "legs" of Rhyme, investigating the crime scenes while Rhyme calls the shots from his high tech bed in his stylish and spacious Soho loft.

While the book took great detail in explaining what goes on in the mind of a quadriplegic, the bond and attraction that grows between Rhyme and Donaghy, and the grisly, methodical, tortures and murders, all gets totally lost in the transition to the screen. Not only that but in most cases of novels becoming films, The Bone Collector changes drastically and not for the better in the film version. What is left is a slow paced, clumsily directed, poorly photographed and ultimately boring film. Director Phillip Noyce sets up most scenes with little tension and suspense, which is a major problem if you are directing a crime thriller. But even with a great director at the helm, the script is plain flat and the characters are not that interesting to really even care about.

As far as the acting goes the best that can be said is that at least the actors get their lines out. Denzel Washington, who is one of my favorite actors, basically goes through the motions and never really captures Rhymes tortured soul (although character wise he isn't given much to work with). Angelina Jolie, who was brilliant in the HBO movie Gia, comes off looking lost and not really conveying much of anything. The rest of the actors do not fare much better with the underdeveloped characters, although Queen Latifah gives her best shot in the thankless role of Rhymes health caretaker.

By the end of the movie when the identity of the killer is revealed (which comes out of nowhere, which was also somewhat of a problem with the book), some of you will wonder why you sat this long in the movie theater. The serial killer theme has been pretty much worked to death, so maybe it is time to give it a rest for a while. The Bone Collector is major proof of that. Do yourself a favor, skip the movie, pick up one of the most chilling novels written and read it in your dark room late at night. Not recommended.

The less you know about this highly compelling movie going in, the more enjoyable it is, so stay away from your big mouth friends who love to give every little detail. Fight Club is a totally wicked satire about male bonding, self-expectations and our inability to deal with the so-called "system". Before this movie even came out, it was being blasted for its violence and possibility of encouraging such "fight clubs"; total nonsense. The movie does not give so much to these actions, as does the publicity generated by an irresponsible media and the so-called "watch dogs" that actually plant the notion into people's heads.

Fight Club is based on the novel by Chuck Palahniuk and I could not think of a better novel to be adapted for the screen to show the angst toward the inhuman society that we have created and let run rampant. Edward Norton is the unnamed narrator who is a totally disillusioned worker bee who suffers from insomnia. To deal with his situation he seeks out support groups that deal with terminal illnesses. Still not finding any type of release, he meets Tyler Durden (Brad Pitt, sporting an amazing set of six packs) and his life will never be the same. The two form not only a strange bond, but also an underground club where men do battle with each other to unleash their everyday frustrations with the world and themselves. Now if the film was only about the violence and fighting, it would succumb to boredom very quickly, but this is a highly intelligent film that has much to say about men and the society that men have created and have to deal with.

Director David Fincher displays a very visual knack and handles the back and forth time element with ease. The fight scenes, stunningly staged, are amazing to watch, but not for the faint of heart, they are brutal and bloody. The dialogue is intelligent, faced-paced and quite funny, while the acting is top notch. In Pitt and Norton, you have two of today's finest young actors, not to mention the biggest risk takers on the "movie star" list. These two, especially Pitt, take chances that other actors of their caliber would not even think of, only Johnny Depp and Nicholas Cage comes to mind. Add Tyler Durden to the top of Brad Pitt's off-kilter characters and Edward Norton continues to astonish with his characterizations. In a major supporting role, Helena Bonham Carter creates an intense, memorable performance as the hard-edged gal who has entered the life of Norton and Pitt.

"Being John Malkovich" is being touted as the original film this year and although I have not seen it, I would rank "Fight Club" up there in originality. This film is one of the best this year, not too mention a cult hit in the making. As far as the media condemning it as a reason for young men to act out, I'm sorry but this film is too highly evolved, sophisticated and intelligent for your average male teenager raised on Adam Sandler movies and ultra non-hip Saturday Night Live episodes to endure. Come to think of it, Fight Club is not for your average moviegoer and that is a good thing. Highly Recommend.