Reviews

Watching "The Gold Rush" was somewhat like listening to great music on a scratchy old record player instead of on a state of the art CD player; the experience is just as exciting, but it takes a little getting used to. It's the same thing all right, but there is just enough difference to slightly throw you off. After a while you forget about the minor technical variations and enjoy the wonderful music.

Once I adjusted to the "silence" of Charlie Chaplin's 1925 silent film, I was able to watch it like any other movie. I could laugh, sympathize, hope, and loathe for the characters, all of the things a movie can make you do. All it took was appreciation of the effort it took people like Chaplin who essentially made something from nothing. In this case, that something is a funny, innovative, and entertaining movie.

"The Gold Rush" revolves around Chaplin's character, the Lone Prospector, in the Yukon where many men seek a fortune in gold. He seeks shelter in a cabin inhabited by wanted criminal Black Larson (Tom Murray) who tries to get rid of Chaplin in one of the funniest scenes of the movie, in which a strong wind prevents Chaplin from leaving. Big Jim McKay (Mack Swain), who has found gold, also enters the cabin. Larson goes out to look food, leaving Big Jim and Chaplin together. At one point, Big Jim gets so hungry he sees an illusion of Chaplin as a giant chicken. When I saw this scene, I realized that it was probably the first time that this invention, which I have seen in many modern movies and television shows to the point that it is overused, was applied in film.

Further along in the film, the Chaplin character visits a small boom town where he meets and falls in love with Georgia (Georgia Hale), who only uses him to make ladies' man Jack Cameron (Malcolm Waite) jealous and regards the little shabbily dressed man as a joke. At this point, I didn't care that the characters didn't really speak or that the film was in black and white. I was too involved in the story to be bothered by the rudimental aspects of the film. As the Lone Prospector, Chaplin evoked my sympathy as well as laughter. I found myself hoping for him to be happy, wanting to see the underdog eventually come out on top.

While it is impossible to ignore the movie as a silent film, it is equally impossible to ignore it as a great comedy that could capably rival any modern comedy, and, like Chaplin's character, come out on top. It is the original that all others follow, and definitely worth renting even, and especially, if you have never before seen a silent film.

I'm sure things didn't exactly go the same way in the real life of Homer Hickam as they did in the film adaptation of his book, Rocket Boys, but the movie "October Sky" (an anagram of the book's title) is good enough to stand alone. I have not read Hickam's memoirs, but I am still able to enjoy and understand their film adaptation. The film, directed by Joe Johnston and written by Lewis Colick, records the story of teenager Homer Hickam (Jake Gyllenhaal), beginning in October of 1957. It opens with the sound of a radio broadcast, bringing news of the Russian satellite Sputnik, the first artificial satellite in orbit. We see a images of a blue-gray town and its people: mostly miners working for the Olga Coal Company. One of the miners listens to the news on a hand-held radio as he enters the elevator shaft, but the signal is lost as he disappears into the darkness, losing sight of the starry sky above him. A melancholy violin tune fades with this image. We then get a jolt of Elvis on a car radio as words on the screen inform us of the setting: October 5, 1957, Coalwood, West Virginia. Homer and his buddies, Roy Lee Cook (William Lee Scott) and Sherman O'Dell (Chad Lindberg), are talking about football tryouts. Football scholarships are the only way out of the town, and working in the mines, for these boys. "Why are the jocks the only ones who get to go to college," questions Homer. Roy Lee replies, "They're also the only ones who get the girls." Homer doesn't make it in football like his older brother, so he is destined for the mines, and to follow in his father's footsteps as mine foreman. Until he sees the dot of light streaking across the October sky. Then he wants to build a rocket. "I want to go into space," says Homer. After a disastrous attempt involving a primitive rocket and his mother's (Natalie Canerday) fence, Homer enlists the help of the nerdy Quentin Wilson (Chris Owen). Quentin asks Homer, "What do you want to know about rockets?" Homer quickly anwers, "Everything." His science teacher at Big Creek High School, Miss Frieda Riley (Laura Dern) greatly supports Homer, and the four boys work on building rockets in Homer's basement. His father, however, whose life is the mine, does not support him. John Hickam (Chris Cooper) believes that Homer shouldn't waste his time on the rockets, that the coal mines are all that matter. The coal from the mines is used to make steel, and without steel, the country would be nothing. The difficult relationship between Homer and his dad is one of the most poignant relationships I have ever seen in a film. Miss Riley introduces Homer to the idea of entering the local science fair, with a chance to go the nationals and win a college scholarship. "You can't just dream your way out of Coalwood," she tells Homer. Homer and his friends act upon their dreams by working constantly on the rockets, improving the models with each attempt. Despite the many attempts, the boys do not lose their determination. "What are the chances of us winning that science fair," O'Dell asks Homer in one of their more despairing moments. "A million to one," answers Homer. "That good?" O'Dell replies, "Well, why didn't you say so?" The music, composed by Mark Isham, conveys sadness and hope at the same time, especially sad at a point when Homer descends into the mine shaft and loses sight of the sky and his dreams of getting out of Coalwood. Rollicking 1950s' rock and roll, including songs by The Coasters and Buddy Holly, occasionally pushes the instrumental pieces aside to create a light-hearted mood that contrasts the teenagers' lives with the lives of the miners. The film, photographed by Fred Murphy, also uses colors to set moods and symbolize. The town of Coalwood, actually filmed in Tennessee, is washed with blues, grays, and browns. It's as if the grime from the coal sticks to everything- faces, clothes, houses, and roads. When a couple in a gleaming red convertible stops to ask for directions from the boys, it is obvious that they are from the world outside of Coalwood and the Olga Coal Company. The book on guided missile design that Miss Riley gives Homer is red. The red stands out enough against the blue-gray world of Coalwood to symbolize "getting out", but it is still subtle. The reds are fleeting hints of a world that Homer only dreams of. Jake Gyllenhaal expresses such zeal, hope, and pertinacity as Homer Hickam that it is hard to believe he isn't the real Homer we see in actual footage at the end of the film. Chris Cooper is also extraordinarily believable as Homer's stubborn father, who doesn't recognize, or just doesn't want to admit, that the mine is not producing enough to keep the town alive. Homer, and everyone who encourages him in his rocket-building, is aware that the town is dying. With the community disintegrating, the only way they stay together is by gathering for the rocket boys' demonstrations. Again, I'm sure things didn't happen exactly as the movie portrayed them, but what would a movie be without a bit of idealism? "October Sky" has just enough of that to make it a great motion picture and enough rawness to keep it real.

Crazy/Beautiful is a very well acted story about the consequences of the relationship between a girl from the right side of the tracks on the wrong track and a boy from the wrong side of the tracks on the right track. I was very impressed by the acting of main characters Kirsten Dunst and Jay Hernandez. Don't be fooled by the bubbly title or the fact that the two stars are both young and good-looking, because this is a serious and thoughtful movie. I give it 3 stars out of 4.

This film rose way above my expectations. I had anticipated a silly, cinematically retarded vehicle for Heath Ledger, but it was, instead, a clever, smart, and funny movie. It had brains and was entertaining. And if you want to see Heath Ledger at his hottest, this is the film! But seriously, it was a great movie. Totally unrealistic, but absolutely charming, with its medieval setting and 70s music, "A Knight's Tale" is definitely a must-see!

I expected this movie to be another brainless vehicle for cute stars, but it was more than that. It was like minor Hitchcock in the 21st century; it had the suspense, the romance, the crime, as well as a modern-problem based plot with all of the computer stuff (which you don't have to know a lot about to enjoy the movie). 3 stars out of 4.

Each time this movie appears on cable television I cannot help but watch it. I've probably seen it about 5 times by now. It is not the best movie I've seen, but something about it is magnetic. Yes, the plot is as predictable as can be, but it is a good story. The central characters are likeable as well as some of the supporting players (especially Roddy McDowall as Goldie's long-suffering servant). It's a good movie if you're looking for a few laughs and to feel happy, because that is what Overboard generates.

I thought that I would like this movie, as a fan of 1940s and 50s musicals, but it didn't live up to my expectations. In comparison to the 1942 "Holiday Inn", "White Christmas" is flimsy, artificial, and boring. In comparison to more recent holiday fare, however, "White Christmas" is a harmless dose of sentimental, post-WWII sugar.