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Reviews
Intermezzo: A Love Story (1939)
Was that the great Leslie Howard?
Leslie Howard who has been brilliant in nearly al his films (esp The Petrified Forest, Of Human Bondage, Pygmallion, Teh Scarlette Pimprenel and of course GWTW) realy gave a stiff, false performance in this 1939 movie that he himself co-produced with David o' Selznick of the Gone With The Wind (1939) -- I'm thinking that both their creative juices were at a major low --- this movie was so insincere and contrived and lacks any universal appeal that makes movies "classics". Sterotypes Galore -- and poor, souless dialogue for a supposed deep romance/drama -- poor Ingrid Bergman -- she doesn't have much to work with -- but thank god she stuck around -- bc this swedish beauty could not only act -- she could steal your heart! Anastasia and For Whom The Bell Tolls are proof of what a great range she had! So don't judge Selznick, Howard or Bergman by this piece of crap!
Next Stop Wonderland (1998)
Metaphysical and believable
Next Stop, Wonderland is written, filmed, and acted in a sincere, non-contrived way, reminiscent of sex, lies, and video tapes. Hope Davis' character is brilliant in its uniqueness. I've never seen a character like her in any film, though I've often longed too. She has some of the greatest dialogue since Pulp Fiction.
The romantic aspect of this film was a real long shot for the director to try. It seems like Sleepless in Seatle, but it was so much more. The romantic connection worked because right from the minute you meet the two future lovers, you know they are special in a way that no one else is. Some people is the world are "unwordly" and "special" in the same way. These two characters had this special bond, even before they met. So the whole time the movie unravels, you feel they are together because of their unworldly similarities.
The supporting cast was wonderful. Particularly Phillip Seymour Hoffman, and Hope's friends. The director directed his cast to invigorate a feel of the familiar for his viewers. The situtions presented in this film, particully the conversations, and emotional reactions, felt so every day and familar. But, at the same time, the movie revealed a side of man that is rarely ever addresed in films: the need for solitude, and experiencing this solitude with a person who has such a similar soul that being with him/her is like being with yourself. Very metaphysical and believable.
Sliding Doors (1998)
Try not to fall for Gwyenth!
I cannot believe I've overlooked this film for so long. As much as I try to dislike Gwyenth Paltrow for having been born with Hollywood's silver spoon, her humanity, grace, and vunerability in Sliding Doors makes me take a major opinion turn. Sliding Doors has an original script that doesn't turn into cheeseball sentimentality like so many American Romantic Comedies. The performances were wonderful. Who could have guessed Jeanne Tripplehorn could be so amusingly wicked! I've long been a fan of John Lynch, who played his cowardly, selfish, but still sweet character to perfection. A lovely movie, not too heavy, but still provocative. Try not to fall in love with Gwyneth! (Then again, didn't we fall in love with her already in that Shakespeare movie..................)
Go (1999)
Failed attempt at cutting edge filmmaking
After viewing Go last night, I was very surprised to find the usually on target viewer voting to be a shockingly high 8. Yes this film was more clever than all the rest of the mainstream bull s**t Hollywood puts out there, but Go's masogonsitic, flashy, youth sterotypes flattens it down to the likings of Instinct, Tarzan, The General's Daughter or whatever medicore, but entertaining films Hollywood always puts out. I would expect more from the director of Swingers, who showed such individuality in the direction and storytelling in Swingers (the answering machine scene was just classic avant guarde cinema). But to rely so much on a weak Pulp Fiction/ Jackie Brown type storyline was just sickening. I wouldn't mind if he pulled it off successfully, but Go just didn't cut it. Simon, Todd and all the rest of these flat characters are the embodiment of Gen X, hedonistic "we're only here for ourselves" type characters. That would fine, it flew over well in Pulp Fiction and Kids, but Go was such a cheap attempt to pull in horny frat boys and stupid druggies with its silly sex and drug scenarios. The female characters were just complete embodiments of every guy-guys perceptions of how women should act -- like hedonistic,horny men. (examples: Hotel Girls, Strippers,police officer's wife, Sara Polley's character, and unfortunately, by the end, Katie Holmes' character too). What was up with Katie's suddenly going from virgin to sexpot? Drugs don't last that long, especially in regards to a guy (Todd) who wants to kill your friend! The gay actors/police men story was just stupid, low and a major insult to the audience's intelligence. Though the actors did the best they could, Taye Diggs gave the only memorable performance. And of all Go's low attempts at humor, only the check out girl dancing to the Macronai had any bite. Go just didn't have the humanity, wit, and uniqueness of Swingers, or the type of Tarantino film it tried to be.