Reviews

Nicolas Cage, in a refreshing return to Acting, plays a (partially) fictionalized version of the talented screenwriter, Charlie Kaufman, a self-loathing, yet self-reflexing, overweight, and socially inept "industry player." This creative, interesting concept is a (partial) adaptation of "The Orchid Thief," a book about one man's passion for orchid plant life in a stream of consciousness presentation. However, due to the complexity of portraying such a book onto the big screen, Charlie Kaufman and his brother Donald (the real ones, not the character ones, but there is no real brother...ah, never mind) instead weave a tale following the attempt to write such an adaptation and the eventual intermingling of all their lives (screenwriters, subject, author). From "Adaptation," we learn that in the search for understanding others' passions, we ourselves lose sight of our own, but also can find new ones on the way. The first two acts are a self-absorbed, but not, telling of the mundane hardships of real life. By Act three, in an attempt to satirize Hollywood screenplays (with car chases, guns, love, happy endings), Jonze and Kaufman inadvertently fall victim to its own commentary, relying on such antics to maintain common interest. Therein lies the irony: this film believes it is too smart for its audience and everyone else, but at the same time loses sight of what they want to achieve. Perhaps this was the filmmakers' goal (of satire), but in the end, by Act three, the plot takes a turn for the silly. Overly silly. Great concept, great development, near perfect first two act filmmaking, but final delivery is a bit weak - however in the end, passion, insider info, and a humor-filled, interesting plot are all conveyed.

"3000 Miles to Graceland" must be the most poorly marketed film ever - is it a comedy? Is it a dark comedy? What the hell is it? But the poor marketing is the least of its problems. To be subjected to this 2 hours or so garbage is cruel and unusual torture. There is not one redeeming quality about this waste of celluloid - heist plot is ridiculous, action scenes are poorly choreographed and pointless, the acting is flat as the great plains, and Kevin Costner. The point at which I should have left the room (while watching on video) was when Costner faces off with a highway patrolman in a western/cowboy-esque showdown. I guess all those years of undeserved success with great films such as "Field of Dreams" and "JFK" has finally caught up with Costner in some kind of existential karma. There are few movies in which a psychosomatic reaction of pain occurs, but this one is definitely one of them.

Audrey Tautou is adorable as the loveable Amélie, a kind-hearted introvert whose lack of parental physical affection guides her life into a realm of imagination and self-induced melodrama. Tired of her passionless world, she decides to do "good" for strangers. With the positive outcome of her initial philantropic deed, she moves onto other friends and peers in need, and in so doing is able to free her own introvert nature, burst out of her fantasy bubble, and find passion for herself. To sum up this film in a word, it would be "cute" - everything, ranging from the lead actress all the way down to the editing style, bursts off the screen in a shout of "cuteness." Despite its happy go lucky nature, the story is balanced with realistic glimpses into characters' lives (ie; the tale of the man who likes to eat his chicken and the discovery of his "treasure box"). Furthermore, the story falls a tiny bit short with Ally Mcbeal type special effect silliness and certain points where the film just doesn't seem to advance. However these points can be overlooked as the overall zeal of the picture allows us to enjoy this fantastic tale and in turn learn a little about ourselves and our need to once in awhile break free from our own shells.

Flawless tale of brief encounters and abstract moments. Far superior than most of Hong Kong's bullet ridden action fests, Chungking Express takes you on an emotional journey of love, loss, and chance excursions. Cinematography and editing is groundbreaking as this drama unfolds soap-opera-like stories without all the overacting and melodrama. Wong Kar-Wei has sealed his place in cinematic history with this tour de force.