Lil'Girl Reviews

X-Men (2000)

Super Hero Tale With Heart

[9/10 · 24 July 2000]

Admittedly my expectations weren't terribly high. However, I am glad to say that this one exceeded all expectations. It is rare to see such good acting in an action adventure film. This one actually has a soul and even looks suspiciously thoughtful. Hugh Jackman is fabulous and so are the Shakespearean actors. With the sheer force of their skills, they provide the film with its classy feel. Looking forward to meeting up with them all over again. Of course, there'll be a sequel. They'll have to have one just to explain Wolverine.

While You Were Sleeping (1995)

While I was dreaming

[9/10 · 21 June 2000]

Saw this film for the seventh or eighth or ninth time yesterday. Sigh, certainly one of the best films in the genre. Sandra Bullock looks the part and plays it with all her endearing charms. Possibly one of her better performances to date. Bill Pullman acted with all the appropriately confused gestures of a man in love but feels that he shouldn't be.

The Princess Bride (1987)

A Gem of a Tale

[10/10 · 21 June 2000]

This is most certainly one of my favourite films. The witty dialogue and plot twists continues to charm and amuse even after multiple viewings. It is certainly one of the most quotable films... absolutely hilarious. The sword fights and bantering are the highlights of this intelligent and satirical film. A real gem. One of few films that deserve all the accolades it has received.

Gladiator (2000)

Sword Wielding Fest

[8/10 · 7 May 2000]

Okay, I enjoyed it in spite of the blood, body count and gore (or maybe because of it). It was well-paced and well-acted. The fight scenes were satisfactory and Russell Crowe looked liked he did know how to hold a sword. This viewer still doesn't know what to think of the ending... seems rather bizarre to me. I guess it was necessary for the two foes to come to a head but I'm not sure that it was entirely convincing to do it in the way it was done. Still I enjoyed the performances of several decent British actors and of course, Russell Crowe is always stunning.

Mr. Smith Goes to Washington (1939)

Capra Directs a Miracle

[10/10 · 28 March 2000]

This is obviously one of the most inspiring films that has ever come out of Hollywood. The film inspires because it dares to suggest that honesty is still the best policy. In our day and age when honesty in politics is scoffed and replaced by cynicism, this film is a reminder to us that once upon a time we hoped that our politicians were working for the benefit of their electorate. Naive though it may now seem.

One of James Stewart's most remarkable performances: the filibuster gets to me every time.

The Talented Mr. Ripley (1999)

Disturbing and Mesmerizing

[8/10 · 8 March 2000]

The ghost of Hitchcock haunts this film with its stylish storytelling and its ability to make the audience co-conspirators in the protagonist's villainy. What man would kill to protect his identity? The Disturbing Mr Ripley would.

Mr Ripley looks like the boy-next-door. But he doesn't want the life of the boy-next-door. He wants the life of the attractive, rich boy. Perhaps we too want the life of the rich boy. We don't think he deserves it. If we had all that money, we'll do better. Won't we?

Beneathe the veneer of glamour and luxury, lurks dark tendencies which can emerge when driven to extremes. A solemn reminder that evil holds many forms and strikes when least expected.

Bowfinger (1999)

More Clever than Funny

[7/10 · 18 January 2000]

As with many clever films, the audience is expected to persevere through the beginning of the film. (Rather like listening to a joke and waiting for the punchline) It is a worthwhile wait when the story takes rather interesting turns.

Altogether there were some great ideas and a rather telling critique about the excesses in film making today. No doubt Eddie Murphy was in good form here. His performance as the paranoid Kit Ramsay has got to be seen. The ending is a scream! I just about split my sides laughing.

Titanic (1997)

How we almost abandoned ship

[6/10 · 18 January 2000]

Admittedly, this film did nothing for me. It isn't the best movie I've ever seen but it certainly isn't the worst either. (Although my husbane would beg to differ -- he wanted to leave after an hour of Jack and Rose prancing around the decks). I persevered feeling that I paid good money to see this epic and would see it through to the end. Unlike the assertions of previous comments, I did see the film early on in the piece and wasn't led by the hype. No matter how much they tried there wasn't much chemistry between Leonardo or Kate. (I'm still having some difficulty trying to imagine them as lovers) Needless to say, I didn't get goosebumps looking at Leo and Kate pashing or warm fuzzy feelings when they were finally separated forever.

Still, I wasn't totally devoid of feeling. I was transfixed by the last hour or so of the film. By the many faces, who realised the inevitable, who accepted their fates quietly and bravely right to the tragic end.

That, ladies and gentlemen, is the real story of the Titanic.

Anna and the King (1999)

Swoon Over the King

[8/10 · 30 December 1999]

Overall, the film was beautifully made. It highlighted the grandeur of Thai aristocracy while quietly prying through the veneer of paradise that seems riddled with many contradictions.

Jodie Foster (despite the accolades that many have heaped on her) usually does nothing for me as an actress but on this occasion she managed to display a gamut of feelings and gestures, that invoked some degree of sympathy for her character. Having seen Chow Yuen Fatt since his earliest days on TV, it is great to see that the man hasn't lost his touch. Here is a ruler and a man caught in between the need for change and the need to maintain stability. Not the most profound film ever made, nor is it likely that the film aims for authenticity but there's an underlying feeling that cultural conflicts often demonstrates less the differences among us but more of how human we all are.

The Spanish Prisoner (1997)

Cleverly Done

[8/10 · 28 December 1999]

I persevered through the first half of the film and was amply rewarded. There are elements of Hitchcock here and there, and it is certainly worth sticking it out for the first 45 minutes, while director and writer David Mamet builds up the story. Not for those who want car chases, gun fights, and lots of explosions. In their own way, the plot twists provide a different sort of excitement. Mostly cerebral, I suspect.

Elizabeth (1998)

Elizabeth is dead, Long live History

[7/10 · 14 December 1999]

Well, I've finally seen the much talked about Elizabeth. Cate Blanchett is quite a revelation indeed. Both Blanchett and Geoffrey Rush are nothing short of chameleons. Dazzled though I was by the performances by all concerned, there was a nagging feeling that the film as a whole could have been better. It was overall an interesting study of a queen and the political turmoil which surrounded the early part of her reign. But not a great film.

Oh, it's not that I'm offended by the ahistorical enterprise. No one seriously believes that film makers are really that concerned with what actually happened.

Oh no, it's not that at all. The problem seems to be that the makers are so caught up the "sexiness" of what might have been that what was probable about the woman herself became subverted. I don't for one moment naively believe nothing naughty occurred beneathe the veneer of religiousity However, no matter how beautifully it was all portrayed, one comes away dissatisfied that Elizabeth has had to fight for her place in life and in art.

The World Is Not Enough (1999)

The gadgets were not enough

[7/10 · 10 December 1999]

It's a Bond movie. What else is there to say. Not the best I've seen but not the worst either. Fairly entertaining with a couple of unexpected turns. It's got the usual gadgetry, car-boat chases, sultry women. This one, however, seems to be a little thin on the whizz bang stuff.

Why oh why do they have to cut up the poor car?

I am going to miss Q.

The Sixth Sense (1999)

The sense of sight

[27 October 1999]

The less that you know about the film the better. Knowing too much could spoil it for you. Suffice to say, the film cleverly manipulates the point of view and leads us down a certain garden path. Should be seen if for nothing but the superb acting and the fairly original plot.

An Ideal Husband (I) (1999)

A Witty Deal

[8/10 · 24 October 1999]

Lord Goring... yes, the real hero of the play. A brilliant wit... most certainly. An ideal husband... perhaps. Although I enjoy the sparkling repartee in the film, the mischievous discourse about husbands and wives running through the original play seems to have gone astray. In the end, it was more a showcase for Wildean wit and Everett's abilities. 'Tis a shame really... Wilde had a lot of interesting things to say about men and women. (Better than some of the self-help literature we're so fond of reading) Perhaps some of which will not sit too well in our politically correct times.

Pulp Fiction (1994)

Crass Fiction

[1/10 · 19 August 1999]

I must be one of the few individuals on this planet that totally detested this film. I left the cinema feeling extremely ill. I went along to this film on the recommendation that it was highly amusing but I guess their idea of "humour" isn't quite the same as mine.

Sure, it had some clever moments but why belabour the point.

Rear Window (1954)

Hitchcock at his best

[9/10 · 19 August 1999]

My favourite Hitchcock film, it must be said. It has all the elements of a good thriller: suspense, intrigue and plays all sorts of lovely games with the mind. The best thing is that most of the action happens in a tiny room in the middle of town.

The Winslow Boy (1999)

Right is done

[9/10 · 15 July 1999]

A young middle class English boy returns from a stuffy naval academy in disgrace. He was accused of theft by the powers that be and was found guilty. However, he protests his innocence and his family, who believes him, sets off determined to challenge the verdict. In the end the Winslow boy plays a rather small part in this narrative, as he is merely the catalyst for interactions within a pre WW1 English family. As a portrait of social history, we are amused at the restraint and civility of all, at a time when people subscribed to convention and no one actually said anything directly but intimated through verbal exchanges. Feelings were carefully hidden behind words and true emotions were expressed in code.

The highlight of the film has got to be the bantering between the key players: the head of the household (Nigel Hawthorne), the barrister engaged to defend the boy (Jeremy Northam) and the sister of the boy (Rebecca Pidgeon). Each shows their flair for comic timing and are happily provided with a serviceable dialogue. Hawthorne is, as always, a wonderful delight. Northam is stunning as Sir Robert Morton: his every gesture, eye expressions so perfectly in tune with the character. I would have loved to have seen more of him on screen. Pidgeon does well with her character but the aloofness of the character made it difficult for us to empathize with her.

We live in an age where permissiveness is the order of the day; when not expressing your true feelings is called "repression"; where the media encourages individuals to reverberate their personal conflicts through the air waves. "The Winslow Boy" is a breath of fresh air to remind us that people in the old days did have feelings, did care but did not feel the need to act or speak on impulse.

Blast from the Past (1999)

Light Entertainment

[7/10 · 14 July 1999]

At the height of the Cold War, a paranoid scientist drags his pregnant wife into a fall-out shelter thinking that WW3 is about to eventuate. They raise their son in the shelter, complete with amenities, and educate him in the ways of the world. One day, after 35 years, they send him out to the big, bad nineties in the hope of gathering supplies and maybe even a spouse. An interesting premise but one that could have been better executed. Fish-out-of-water stories have the potential to be enjoyable if competent actors of some calibre are included in the package. The actors are certainly not the problem here. They do their best with what they're given and charm us at every turn. Nonetheless, the plot often seems to lack focus and direction going off on several tangents that sometimes seem be left hanging in mid-air and unresolved. The ending also left me a little dissatisfied.

That said, however, I found myself nostalgic for good manners and common courtesies, which the film suggests is somewhat lacking in the nineties. It's good to know that there are some of us who still care about courtesy and well-chosen phrases.

Brendan Fraser is delightful as the "nice boy" who grows up into the "nice man". Sissy Spacek did well as did Christopher Walken and Alicia Silverstone.

Mrs. Winterbourne (1996)

Another Modern Fairy Tale

[7/10 · 14 July 1999]

Mrs Winterbourne is another in a line of modern Cinderella, a rags-to-riches story. It serves as a reminder that every so often we still hanker after Romance with a capital "R". It's fun and doesn't have pretensions of taking itself seriously. It's a lovely idea that a stiff young man would fall in love with a woman he initially disdains but Ricki Lake as the girl in question doesn't always pull it off. Shirley McLaine is, as always, wonderful to watch and just as delightful is Brendan Fraser.

The Mummy (1999)

Entertaining Silliness

[8/10 · 20 June 1999]

I suspect that nobody is supposed to take this film seriously as the film itself is suggestively tongue-in-cheek. If it had been a straight horror flick, I don't think I would have given it a second thought but as some reviewers indicated that the film was more of an adventure film a la Indiana Jones, I went along for the ride.

The Mummy has the feel of an old B-movie but certainly with a much bigger budget and more spectacular special effects. The introduction, which is silliness itself, contains some stiff, cheesy acting and narration, making the way for a whole range of comedic moments. The result is pure entertainment mixed with absurdity.

Particular credit must go to its cast, who looked like they were enjoying themselves during this rollercoaster ride: Brendan Fraser, with his goofy good-looks, was a delight, battling with mortal and undead villains. Rachel Weisz, was having fun looking like she was an expert in Egyptology and of course, John Hannah as her brother, showing uncanny timing for one liners.

I confess I had a good laugh out of this. I don't think anybody seriously thinks they're getting a history lesson out of this. If they do, well, they're in for a disappointment. Ultimately, the association with Indiana Jones is fairly minimal. The Mummy is first and foremost an adventure film exploiting bits and pieces of known history as it sees fit.

(A word on special effects in general: With the release of Star Wars, the Matrix and the Mummy, many have criticised the overemphasis of special effects above human actors and good storytelling. I think it is important to see special effects as much an art and a craft as any other forms of film making. Special effects are tools at the film maker's disposal and to be used according to how they would like to present their vision of something beyond the ordinary. There must be a place for all types of film making without this kind of constant barrage of censure of blockbusters. Each film should be judged on its merits - ie, the degree of success it attains in its execution. Comparing Her Majesty, Mrs Brown with something like The Mummy would be like putting apples and oranges on the same footing. This talk about High Culture vs Popular Culture has gone on for more than a hundred years and there doesn't look to be any resolution in sight. Incidentally, Shakespeare and Dickens were not elevated to their lofty status until after their time.)

Star Wars: Episode I - The Phantom Menace (1999)

Return of the Spectacular

[8/10 · 9 June 1999]

It was certainly a feast for the eyes: the costumes, sets and locations. What an imagination! The effects were truly breathtaking. While I don't generally watch films for the special effects, something definitely has to be said for this one. The technical wizardry involved in making this epic must have been something of a phenomenon in itself.

Undoubtedly, the highlight of the film is the pod-race. It was reminiscent of another epic -- Ben Hur -- although without the obvious contemporary references. The similarities there are quite compelling.

The real flaw in the film I believe, is the dialogue or lack of it. It lacks the snap and go of the previous films or the recent Matrix. But perhaps it's unfair to compare it with the other sci-fi rage of the season which was doing something quite different. The dialogue, it seems to me lacks the intellectual depth and sophistication of ideas which drew me to The Matrix. But perhaps that will come later in the sequels.

But then I did not go and see this film for that reason. Star Wars is and will always be a good old fashion adventure film about the battle between good and evil.

A Midsummer Night's Dream (1999)

Path of this movie had difficulty running smoothly

[7/10 · 20 May 1999]

I personally didn't mind the movie. It was for the most part mildly entertaining but it certainly wasn't great Shakespeare.

The movie, I suspect, lacks conviction and chemistry between actors. It was quite difficult to have any real sympathy with any of the main characters as they often went as quickly as they came. Choosing to set the film in the nineteenth century was rather bizarre especially with all the references to Greek mythology.

For more energetic Shakespeare, Much Ado About Nothing wins hands down.

L.A. Confidential (1997)

A Rare Hollywood Outing

[9/10 · 19 May 1999]

This is probably a little late in coming but better late than never. Like many, I'm still not sure how Titanic managed to win 11 Oscars and get ahead this film. L.A. Confidential is easily one of the best films made by Hollywood in a very long time. A tight script and all-round stellar performances by the cast. As an Australian, I was particularly heartened by the performances of Guy Pearce and Russell Crowe. They were truly outstanding and it is a sad reflection of film industry politics that they were not even recognised for their magnificent efforts. It is a film worth getting your teeth into.

The Matrix (1999)

Sci-Fi at its Best

[9/10 · 18 May 1999]

I thought I'd add to the chorus of approvals and thumb my nose at the naysayers. From my observation, most of those who dislike the movie don't really get the nuances of the film. Certainly it's not a picture for everyone and of course there are going to be gaps in aspects of the narrative. But what work of science fiction has ever been totally gap-proof? (Hence, the expression "science-fiction") As one of those who enjoyed the movie thoroughly and saw it more than once, I believe it contains all the elements of a good movie: humour, a freshness about it, and a lot of great action sequences. Will Star Wars measure up, I wonder?

The Other Sister (1999)

Missed Opportunity

[5/10 · 18 May 1999]

I readily confess that I am basically quite ignorant about the difficulties encountered by disabled people in everyday society. However, after almost 2 hours of this film, I am none the wiser. What I do know, after sitting through a host of inconsistencies, is that the film makers haven't got the foggiest notion either. Sure, the film had its moments but they were certainly few and far between. Was this supposed to be a film about the mentally handicap or a mere disguise for a diatribe about power struggles within the family unit? I've seen that film before (done better) and it was called Parenthood. What annoyed me most about the film was the incongruous claptrap about independence and freedom while having no problems living in the apartment that Mother chose and paid for. Sometimes I wonder if I wasn't just watching a spoilt child throwing tantrums. What about the oh-so cliched argument that when you're in love it's okay to be inconsiderate and rude. Certainly, a little bit of romantic fluff now and again is a lot of fun but when a movie takes itself too seriously, it becomes a little bit too much. The saving grace of this movie was definitely the performance of Giovanni Ribisi who managed to maintain his characterization in spite of the movie's lack of integrity.