meesa1 Reviews

Married to the Mob (1988)

Worth watching for Stockwell

[7/10 · 27 August 2001]

I'm not a fan of this brand of comedy - stereotyped characters over-acting their way through a cops and robbers farce. But there are enough likable characters to sustain interest. Michelle Pfeiffer is adorable, but the person really carrying the film is Dean Stockwell, who steals every scene as the head mobster (named Tony, no less).

Stockwell's performance is the reason I'm writing this review (and the only reason I'd recommend it), in fact. You'll be tickled by his screen time. He's plays the mob boss perfectly, with comedic touches in the right places, managing to avoid becoming an overbearing cliche. In fact, Stockwell's a complete delight to watch - a master of the 'double take,' and a real 'looker' in those classy suits and fedoras.

Meesa Says: A good film to watch while folding laundry or eating leftovers.

The Langoliers (1995)

An engaging adaptation of a Stephen King story.

[8/10 · 26 August 2001]

** Some Minor Spoilers **

I was compelled to rent this (originally made for TV miniseries) because it's a story by one of my favorite authors - Stephen King -- and stars one of my favorite actors - Dean Stockwell. A 'safe bet' combo, I thought - and I was right. While King's stories never quite translate to the screen -- too many 'internal' narrative sequences, meaning lots of character development that's not expressed in action or to other characters - something hard to convey in a movie. I have not yet read the story, so this review will be based solely on my viewing experience. More specifics:

The Langoliers has 'Made-For-Television-Movie' overtones - quick plot development, some low-budget special effects - but the cast is stellar, and King's story includes some new twists on the old 'time travel' theme. And the delivery is scary. I watched this at 11:30 PM and by midnight, I was terrified. The first half-hour includes a disturbing in-flight scenario -- a handful of passengers wake up to an empty plane - only material traces of other passengers are left, such as watches, dentures, and pacemakers.

A blind girl - Dinah - is one of those left on the plane, creepiness incarnate with her emphatic but persistent, automatic instructions throughout the saga - she becomes a 'seer' for the group with her heightened sense of hearing (another old plot device, but works well here because of the performance by the actress). The Langoliers should also be applauded for its pacing - not too fast - and great use of props - several objects are repeatedly used as the focus for major plot twists and information – a classic King touch, repetition of phrases and images being a trademark device.

Here, however, is one of the technical mistakes - supposedly, nearly everyone has been 'snatched' away, leaving all non-body parts behind - but what about clothing? If a watch and pacemaker were left behind, wouldn't someone's clothes also be left behind? I also was disappointed by the last half hour, in which the Langoliers arrive. Much better to have left the visuals to the viewers' imaginations – instead, the movie includes special effects that are sub-par – the only point where I was cringing out of embarrassment rather than fright.

As for the cast: David Morse plays pensive well, and does so here as an off-duty 'American Pride' pilot. The rest of the passengers represent a mix of gender and age demographics, a typical 'air disaster film' roster, but again the cast is believable. Dean Stockwell's 'mystery writer' character is especially engaging - Stockwell always brings life to a film, and does so here in top form as he bounces the story along with his character's Columbo-like observations. Bronson Pinchot appears as Craig Toomey, an edgy corporate man on his way to a presentation in Boston - his performance here will make you erase the name 'Balki' from your vocabulary. Again, I love the repeated use of objects, this time sheets of paper which Toomey slowly tears over and over whenever he's stressed (which is nearly all the time).

Bonus: Credited appearance by Stephen King himself.

Meesa Says: See it, especially if you like King and Stockwell.

The Pledge (I) (2001)

brilliant script and performances

[10/10 · 5 February 2001]

Slight spoilers --

General thoughts: This film has been ill-promoted as a serial-killer cop thriller. While these elements are cornerstones of the storyline, the movie's foundation is grounded in far more subtle complexity. Rather, The Pledge explores human emotions, and how they drive human action. This is an epic story with a pace that may put off viewers expecting (or who have been led to expect) frantic scenes in the police headquarters, or copious car chase scenes. Rather, The Pledge is an intellectual thriller. Generous details and recurring themes (Jack's fishing, the porcupines) draw the viewer into the world of the characters, who are well developed, and continue to grow as the film unfolds.

Nicholson: Brilliance unbound! Jack Nicholson, sporting a moustache and all-over gnarled appearance, gives his 'retired cop' a richness, a realness. Fans will recognize a few 'trademark' Jack moments, but Nicholson easily loses himself in the character of Jerry Black. This performance is one of his best in a long while - certainly more challenging than his As Good As It Gets role, and beautifully executed. Nicholson's final scene had me spellbound.

Penn: Bravo to Sean Penn's direction, which is always quirky and innovative without being distracting. Some predictable scenes and a little too much foreshadowing, but other directorial decisions negate this minor criticism. Many overheads, close ups, half-lits. Also noteworthy is Penn's comfort with silence and pauses, elements which help create 'realism.' The pacing and relationships reminded me a bit of Fargo, in spirit.

Aesthetics: One of the haunting things about The Pledge is the music, an instrumental hybrid of Native American and country-western. The soundtrack complements the cinematography well -- coordinating a stanza with a scene of flying birds, for instance.

Aftermath: This movie, and Jack Nicholson's performance in it, just gets better and better in retrospect - this is indeed a film that mandates a second viewing. 10/10.

The Family Man (2000)

Completely satisfying.

[23 December 2000]

CONTAINS VERY SLIGHT SPOILERS - First Impressions: When I see 'comedy-dramas,' or most films for that matter, I usually leave the theatre dissatisfied by unrealistic portrayals of people or situations -- too many exaggerated characters, slapstick, easy resolutions, and quick scene changes. This movie is unlike most movies I've seen this year in that it completely, totally satisfied me with a compelling story (largely a new take on "A Christmas Carol," but so what - it's a story that can survive and thrive in retellings), attention to details, and brilliant acting.

Comedy vs Drama: This is a realistic depiction of how two people respond to events, from the phenomenal to the mundane -- it's mostly a drama, but with humorous moments which do occur in daily life. The movie does not bill itself as a 'comedy' either in the trailer or in the storyline, and should not be taken as such. In some ways, the movie has a 'European' film feel to it - it is not afraid to take time to take scenes a little further, flesh out things a little more, and revisit the characters' reactions throughout the film, i.e. no 'quick' answers here. Viewers never feel like they are part of a studio audience brought in to serve as a laughtrack. Nor do you feel like you're watching a music video -- there are no scenes where dialogue is replaced by a pop music score, no 'twelve hours in sixty seconds' montages so common in American films lately - a device which always leaves me very dissatisfied because I'd prefer to see the untidy bits between the cute montage clips. This movie delivers just that.

The attention to details is marvellous - witness the scene where Nicholas Cage's character [Jack Campbell] has to use a map to find his way back to his 'new' home after bolting out of the house in the family minivan - other movies would just 'assume' he'd find his way back without incident, but the script here constantly strives for continuity and little spots of realism - it makes sense he'd have to use a map!

Acting Chops: Nicholas Cage and Tea Leoni are wonderful, both separately and together -- the plot allows them to explore a range of emotions, and their alter-personalities, as the story unfolds. Tea Leoni's performance is especially noteworthy -- sexy, passionate, and convincing. All of the secondary characters are very well incorporated -- not one film frame is 'wasted' or 'superfluous.'

The Chick Flick Factor: Okay, so all women were wiping teary eyes when the lights came on in the theater, but don't let that fool you. This is a parable from Jack Campbell's point of view which should appeal to both men and women. Situations encountered in the film are not gender-specific - who hasn't wondered where an alternate choice would have led them? Or if they'd be a worse/better person for it? Or if the guy in the next cubicle would be worse/better as a result as well? While we're at it - also don't let the presence of two kids turn you off. Married-with-kids folk will probably relate to the film in a different level from single or child-free folk, but as someone in the latter category, I found the 'kid scenes' not only tolerable, but interesting and believable. They are not just token 'cute' fodder but actually contribute to the storyline.

Meesa Says: 'The Family Man' makes my enthusiastically-recommended list. You'll leave the theater completely satisfied. 10/10