vidalia15 Reviews

Minority Report (2002)

A Visual Tour-De-Force

[22 June 2002]

Minority Report is a high energy, suspenseful, visual tour-de-force. As with every film that Spielberg directs, this one is no different as far as offering wonderful entertainment and even more wonderful eye candy. Once again, Spielberg proves himself to be a visual stylist of epic proportions--reason enough to see the film.

The story, taken from a short story from Philip K. Dick, is a provocative vision of what crime fighting could be like in the not too distant future. The movie unravels at lightning speed, with plenty of twists, brilliantly directed action sequences and special effects that aren't overblown, but are technically dazzling and always appropriate to the plot.

While the entertainment level is high, one does have to suspend a considerable amount of disbelief to take the film seriously, yet as a pure sci-fi movie, it is credible and convincing.

No E.T. or Close Encounters, but a memorable film nonetheless.

Bruiser (2000)

A major disappointment

[10 June 2002]

I was sadly disappointed upon seeing George A. Romero's latest film, Bruiser. I bought it used on VHS with no doubt in my mind that it would at least be visually entertaining and a cut above the typical slasher film genre.

However, I found it to be a bore and totally disappointing. On the plus side, the movie does have quite a bit going for it. The theme of "identity" and having an alter ego of sorts that pretty much plays out subconscious actions, is intriguing. I found the first third of the movie to be creative and suspenseful, as it played quite heavily with the mixing of fantasy and reality in the mind of the disturbed main character. Yet, shortly after this brief "tease", the movie descended into a typically plodding tale of a serial killer bent on revenging those who wronged him.

I think many of us can relate somewhat to the main character of this movie: a person who has been stepped on his whole life, is fed up being taken advantage of and wants to do something about it. The movie would have involved us more if it dared to be different. Making us doubt the goings on in the main character's mind or blending the real with the unreal would have made for a more cerebral and provocative film.

I expect much more from Romero, who, in my book, is a virtual master of horror who gave us the always timely cult classic Night of the Living Dead, as well as a few other less prolific, but noteworthy horror movies. Yet there is no evidence of that Romero here.

The entire third act is set in a glitzy, highly cinematographic dance club with a blaze of color, lights and energy. Yet, Romero fails to take advantage of all this flash. He brings no visual excitement into these scenes, yet instead, cuts from scenes of performers to scenes of the killer and back again. This is from a man who has collaborated on films with Dario Argento and other horror masters. These final scenes would have been a great opportunity for Romero to show off some creative editing and faster pacing so that we could feel more of this energy and excitement.

I enjoy horror movies and will watch anything Romero comes out with in the future, despite the shortcomings of this film. Bruiser has a great premise, some wonderful dark humor and performances that transcend most others in this genre. The execution of the story and the action, however, seems to be missing much needed panache.

A Better Way to Die (2000)

A visually striking action picture that makes no credible sense

[20 February 2002]

A Better Way to Die is a slick action picture directed by and starring Scott Wiper. The film has the look of a John Woo movie with well directed action scenes and a heightened sense of tension throughout.

However, the story lacks any credibility whatsoever and takes us from one unbelievable event to the next. Yet, somehow it still works on a visual and visceral level. The characters are well developed for this genre, sort of reminiscent of those out of a modern day spaghetti western.

A Better Way to Die winds up being an entertaining mixed bag of sorts--one that, if not taken too seriously, can take you for a nice ride.

Heart of Midnight (1988)

A visual tour-de-force

[27 January 2002]

From the opening scene of Matthew Chapman's Heart of Midnight, we know we are in for a visual tour-de-force. Jennifer Jason Leigh begins a new life in a bizarre, sinister, Lynchesque apartment complex, formerly occupied by her weird uncle, a pervert of sorts, whom Leigh slowly begins to remember.

Writer/director Chapman breathes sinister life into this creepy abode of a building. It seems to take on a life of its own in between the shadows, macabre lighting and ethereal noises that emanate from nowhere.

The film instantly draws us into a dark world where we are never sure what is exactly real and what is a figment of Leigh's imagination. Like any good psychological thriller, circumstances and events are revealed to us slowly, as we need to know them, and always advancing the plot.

More than anything else, the film sustains a brooding, macabre feel that always keeps us feeling uneasy, which seems to mirror Leigh's character. She is excellent here as a woman trying to comes to grips with both her mental illness and a sordid past. The musical score is both eerie, yet powerful, further drawing us into the film's creepiness.

Those who are fans of David Lynch and of movies that create a convincing, yet creepy world of their own, should enjoy Heart of Midnight.

Heart of Midnight (1988)

A visual tour-de-force

[27 January 2002]

From the opening scene of Matthew Chapman's Heart of Midnight, we know we are in for a visual tour-de-force. Jennifer Jason Leigh begins a new life in a bizarre, sinister, Lynchesque apartment complex, formerly occupied by her weird uncle, a pervert of sorts, whom Leigh slowly begins to remember.

Writer/director Chapman breathes sinister life into this creepy abode of a building. It seems to take on a life of its own in between the shadows, macabre lighting and ethereal noises that emanate from nowhere.

The film instantly draws us into a dark world where we are never sure what is exactly real and what is a figment of Leigh's imagination. Like any good psychological thriller, circumstances and events are revealed to us slowly, as we need to know them, and always advancing the plot.

More than anything else, the film sustains a brooding, macabre feel that always keeps us feeling uneasy, which seems to mirror Leigh's character. She is excellent here as a woman trying to come to grips with both her mental illness and a sordid past. The musical score is both eerie, yet powerful, further luring us into the film's creepiness.

The only flaw in the film is the villain, a victim of Leigh's Uncle's sexual perversions. Where the character makes sense from a psychological standpoint, the writing here is definitely over the top, a circumstance which takes away some of the film's credibility. Yet, it is a movie not to be taken so seriously so that this character does any major damage. The overall effect is left intact.

Those who are fans of David Lynch and of movies that create a convincing, yet creepy world of their own, should enjoy Heart of Midnight.

Vanilla Sky (2001)

Not without flaws, but a demanding film and well worth the demand

[21 January 2002]

Vanilla Sky does have its cliches and does have plenty of commercial devices that are at times grating. However, the film demands that the viewer pay attention to it AND that the viewer wait for explanations and, for a Hollywood movie, this is a good thing. The aggressive filmgoer, should find himself or herself rewarded by a viscerally entertaining psychological thriller by the end of the film's over 2 hour running time.

The movie, based on a Spanish novel, is basically an "is this fantasy or is this reality" type of film, yet, with a lot of psychology and creativity thrown in.

Its non-linear style, which only serves to advance the chaotic, yet cohesive storyline, and the film's strikingly visual appeal, make up for its contrivances and minor weaknesses.

Like Cameron Crowe's other films, the viewer really has something to sink his or her teeth into with Vanilla Sky. Perhaps not as "down to earth" as his recent Almost Famous, but just as involving and much more daring. Whatever he does, Crowe has emerged as one of our more prolific and important directors and Vanilla Sky is no exception.

A Better Place (1997)

Refreshing, honest and an indie diamond in the rough

[21 January 2002]

It is always refreshing to see a film like A Better Place. It reminds us that there IS life outside of the Hollywood movie machine where films are driven by character development and plot rather than action and eye candy.

The film is about 2 marginal high school friends who "find" each other when one comes to the aid of the other who is about to be beaten up. The film follows their adventures and troubles which ultimately lead to tragedy. Despite an ending that, for the most part, makes sense as far as story line and character are concerned, yet is simply too derivative in general, the film is an excellent example of what a good film maker can do on such a shoestring budget. Seen on a cable channel, the movie has that authentic indie feel, yet, does not appear as "poor" as it apparently was.

Now, if we can only see one movie as noteworthy as this one on cable each week, the world would definitely be a better place.

The Adventures of Sebastian Cole (1998)

Semi-uneven, yet meaningful family drama

[24 December 2001]

Sebastian Cole stars Adrien Grenier (Drive Me Crazy) as a teen struggling to come to grips with his father's transsexualism.

Director Tod Williams maintains a nice semi-comedic, yet always surefooted tone, which keeps the film grounded, yet also prevents it from becoming too serious.

Grenier too often reminds us of a run-of-the-mill wise street-kid type, not too dissimilar from his role in Drive Me Crazy. Yet, he is effective in both films and has considerable appeal.

The film is at times uneven as we follow the antics of Grenier, along with his longtime buddies, his "girlfriend" Mary, and the rest of his family. Yet, the movie does a good job in its depiction of several disparate family members trying to cope with a family crisis.

Despite a vague ending and the occasional unevenness mentioned above, the film is worth seeing for its honesty and candid portrayal of a father struggling with his sexuality and how it affects the family unit.

Far from flawless, yet ultimately convincing.

Jurassic Park III (2001)

Derivative, yet exciting eye candy...

[24 December 2001]

This third installment of the Jurassic Park line does not really give us anything new. Here, we have a fresh set of characters who just happen to find themselves on an island teeming with man-eating dinosaurs.

The movie is formula action/adventure all the way: characters are saved at the nick of time just when they are about to be eaten alive, one is whisked away by a gigantic pterodactyl, then dropped by the nest, unharmed, etc., etc.

Taken as a fantasy, the movie is, more than anything else, derivative of its first two predecessors, and of similar fantasy/adventure films. Yet, somehow we just don't care. This movie's entertainment factor coupled with its state-of-the-art special effects win us over.

Sure, it's silly, but when a film is as visually appealing and as exciting as this one, we are always ready for more.

The Stray (2000)

Tense, awkward thriller

[12 December 2001]

The Stray is one of those movies we are tempted to turn off in the first few minutes. The story gets off to a murky start and the direction is uninspired. Yet, as the pace builds, so does the tension and we begin to care just a little more. By that time we are hooked, and too much of the running time has elapsed to give up.

Michael Madsen plays the boyfriend of Angie Everhart, a beautiful and successful restaurant owner who "mistakenly" hits a seeming drifter on her way to work. This drifter winds up staying on the premises of Everhart's house where he begins to meddle and then wreak havoc on her and her boyfriend's lives.

The plot does not break the barriers of originality. It reminds us of Fatal Attraction and perhaps a host of lesser derivatives that followed. Yet, the effectiveness of the movie lies in its mounting tension. There is also a nice chase scene at the beginning and other well directed scenes of terror. Beyond that, The Stray is a competent "B" movie thriller, one that holds its own opposite a dozen other less known or unknown movies on any given cable movie channel.

Chuck & Buck (2000)

An Indie Gem

[6 December 2001]

Chuck and Buck has all the ingredients of an indie gem: a good, yet offbeat story, quirky, but real characters, and here, an account of childhood lost and remembered that is as visceral as it is bizarre and as realistic as it is pathetic.

Mike White is exemplary as a man obsessed with reuniting with his long lost friend, the latter who has grown up and established himself, the former, still stuck in a childhood fantasyland that he yearns to keep alive.

The film runs a range of emotions, yet always rings true. We feel a lot of things for Buck, not all of which are pleasant. Yet, we always feel sorry for him. Like many emotionally scarred or troubled people, we can't help seeing a part of ourselves in Buck. This gives the film a universal appeal. While we are not him, and don't want to be him, we share his feelings, thanks to Mike White's remarkably convincing performance.

A powerful movie about healing the inner child and being able to fully function despite the hidden scars.

The Big Kahuna (1999)

Landmark film in many ways

[5 December 2001]

The Big Kahuna is proof that there is plenty of room for movies that are driven by plot and rich character development rather than Hollywood formula and action.

The film is a landmark film in many ways. First off, it compels the viewer to listen to what the characters have to say. It utterly demands the most active viewing possible. Therefore, it is not a causal weekend entertainer. More than this, the viewer wants to hear what the characters have to say because very early on it is evident that there is an excellent screenplay at work here--one that asks many more questions than it answers, and one that couldn't be more demanding in making the viewer think.

Secondly, it exemplifies, by far, the best work Danny Devito has ever done. If he is remembered for only one film in his acting career, this should be the one. He plays his character--a marketing executive at a personal and spiritual crossroads--with unflinching realism and conviction. Kevin Spacey, as his eccentric, yet ultimately sincere friend, is at his best as always. And Peter Facinelli acts as if reborn (no pun intended) as an up and coming salesman--or not.

The question I ask is if many people will make the effort to really hear what this movie has to say, or question how many things it asks us to ponder.

An underdog of a movie--a sleeper with a capital 'S'--both overlooked and undervalued.

Julien Donkey-Boy (1999)

A work of real filmic art

[20 November 2001]

Harmony Korine's Julien Donkey-Boy, is nothing less than real filmic art. It chronicles a day or so in the life of Julien, a teenage schizophrenic, and the other family members he lives with: his sister, his frustrated and abusive father, played nicely by Werner Herzog, (of all people), his younger brother, and his grandmother.

The effect is like watching Leave it to Beaver on acid--a haunting picture of a family paralyzed by their own dysfunctionality, so pervasive it is that it virtually crushes any hope of what most of us would call a "normal" life. The real tragedy is knowing that we are merely glimpsing a fictional account of what many real families with similar situations have to endure. The film isn't a success solely due to its effectively disturbing chronicle of a mentally ill teen, but rather, HOW it chronicles the life of this character. Korine is a master of using film to communicate story and messages, specifically through the use of editing, cinematography and visual effects. This is amazing, since at only 27, Korine has more visual ownership of the medium than do most directors with twice his experience.

Yet, Korine's movies are not popular. Most people wouldn't have a clue as to what's going on in them. This is because Korine uses visual symbols and other filmic elements to reveal the plot and character development. And he does this masterfully. For example, in one scene, we see the images as if on a videophone, frame-by-frame, with erratic cuts in the action. Yet, the sound flows as normal. Korine uses this technique to symbolize the main character's fragmented view of the world -- a view that is dramatically distorted from our own. This is brilliant filmmaking -- an example of "show, don't tell" yet through use of film form rather than character action.

Indelibly, it is Korine's unconventional film style, of which a good deal looks experimental, yet all of which is handled expertly, that will also keep him at the fringes of the film world, barring him the popularity he deserves. This is too bad since he brings as much to the art of independent film as Scorcese does to the Hollywood film. Yet Korine will never have the accessibility of the other.

In this film, Korine reveals the character of Julien not only through his actions, but via his reactions to those around him and to his environment. This is a hard task for a filmmaker to achieve since those who don't know the particular "reason" for a scene or for its purpose, will be lost. The film demands an aggressive viewer, one who wants to share the boldness of the director's vision, while deciphering it through his or her own knowledge of film conventions and prior knowledge.

Julien Donkey-Boy is not as emotionally powerful as Korine's previous film, Gummo, yet it is just as important in what it has to say about film as a medium of communication, and, about the people who are living at the margins of society.

Life as a House (2001)

Heartfelt, but manipulative and contrived

[7/10 · 12 November 2001]

Life as a House is a manipulative tear jerker with just about every character and story cliche in the book. Like the writer's previous film, As Good As It Gets, characters here say inane things they would never say in reality and do even stupider things just to please the pen of the writer. For example, teenage girl jumps naked into shower with teenage boy and then proclaims that they should just be "friends." Character loses job and begins to destroy the office in retaliation. These and other countless scenes of contrivance may make for a fairly entertaining movie, but they only add incredulity to an already pretentious story and add nothing to a real life experience.

Hayden Christensen plays the son of Kevin Kline, an architect, just fired from a job he's had for 25 years. Dad insists that his son join him for the summer so that he can wean him from his problems and bring back that father and son closeness. We soon learn that there is more to why Dad wants him around than he first lets on.

The best parts of the film are the performances, all of which shine, despite the pretensions and herky-jerky sentimentalities the film rams down our throats.

This is really too bad, since the film's heart is in the right place. The contrived plot isn't.

It Was Him or Us (1995 TV Movie)

Effective in shedding light on the victim mentality

[7/10 · 11 November 2001]

Either Him or Us, a 1995 t.v. movie, is most effective in shedding light on the victim mentality, specifically, how easy it is for women to fall prey to seemingly well meaning men who are nothing more than wife beaters. Ann Jillian plays a woman, herself a victim of wife abuse, who battles the obsessive, violent boyfriend of her granddaughter, played by Monique Lanier. The film works in showing Lanier's belief that her boyfriend's passion for her is what is also responsible for his violent ways, and director Iscove succeeds in creating this conflict.

All performances are strong, especially Richard Grieco's, who is terrific in portraying the subtlety of his character's obsession.

Unfortunately, his character, and performance, go over the top in the last third of the film, as he gets even more deranged and the film lapses into too familiar territory. Thus, much interest and psychology are lost to a more derivative format typical of many movies about obsessive love.

Worth seeing, nonetheless, for the performances.

They Call Me Sirr (2001 TV Movie)

Sanitized, yet heartfelt and effective biopic

[7/10 · 7 November 2001]

They Call Me Sirr is the story of Sirr Parker's rise to football stardom, after battling a childhood that seemed destined to keep him a victim of both the poverty and crime around him, and of his own broken family.

Virtually abandoned by his mother at an early age, the film is tremendously effective in showing Sirr's inner conflict to pursue a promising football career versus staying home to care for his grandmother and younger brother. Mainly due to the support of his family and friends and his own growing need to realize his true athletic talent, he struggles to realize his dream.

The choice to make the film a mostly family affair was a good one, despite its sanitized look and feel. The lack of expletives and other expected profanities seems unrealistic. Yet, in its place we are given a heartfelt and extremely even story about a boy who is able to rise above the turmoil of the environment around him. Most importantly, it is a message picture for kids in attempting to show them that with hard work, perseverance and the caring people around them, it is possible to be successful in life, rather than succomb to the victim mentality.

Performances by all are noteworthy, especially Sirr's character, played with conviction by Kente Scott. Michael Clarke Duncan is also memorable as Coach Griffin, a man whose mission in life is to create only the best of players, yet human enough to attempt to help heal their inner wounds.

A memorable biopic with a soul.

Natural Enemy (1996 Video)

Fairly engaging, yet derivative thriller

[6/10 · 3 November 2001]

Natural Enemy is not unlike a plethora of similar revenge type of movies involving a character with considerable "damaged goods" out to destroy those he feels is responsible for his twisted state.

Here, William McNamara is the son of adopted parents who abused him and apparently ruined his life. To retaliate, McNamara has tracked down his natural parents and slowly begins to ruin their lives.

While the story is uninspired, it does move at a fairly fast pace. While McNamara does not possess the emotional range of many other actors in his age group, he is fairly convincing here and does send a few chills our way.

Perhaps the most disappointing element of the film is that, in its own way, it tries to shed light on the fact that many adopted children often grow up to be emotionally scarred for life, if not worse, (McNamara's character being an extreme example.) Although this is a noble undertaking, we can't respect the movie enough to care about this aspect of it. In addition, the movie falls way too short of taking itself seriously enough to double as a legitimate "message picture" in this regard.

Ultimately, we are left with not a whole lot to think about.

When Strangers Appear (2001)

Taut, Expertly Written Thriller

[8/10 · 29 October 2001]

When Strangers Appear is a tautly directed, excellently written sleeper of a thriller. Reminiscent of the best of Hitchcock, director Scott Reynolds has a keen knack of showing us just what we need to see when we need to see it. This not only keeps us at the edge of our seats but constantly pulls us in and out of the driver's seat so that we are behind the scene observers of the action sometimes and right alongside the characters at other times.

The film is a virtual roller coaster of emotions and plot twists that ultimately leave us fully satisfied. The film is a "people aren't always who they seem to be" psychological thriller with Lynch-esque overtones: We don't always know what's happening or why and that's okay. It all adds to the overall paranoia the film creates.

A minor movie with a major entertainment factor.

Around the Fire (1998)

Derivative but fairly effective psychological drama

[7/10 · 28 October 2001]

Probably the best thing about Around the Fire is Devon Sawa's performance. He plays a college bound teen who meets a group of new friends who quickly turn him on to drugs and a counter culture that is intriguing but ultimately leads to his downfall, as he uses it to escape the tragic loss of his mother and the family problems that surround it.

Although the story is heartfelt and unfolds well, it is also derivative and highly uneven. The director is careful not to use any real names of people or places in portraying the hippie/druggie sub-culture that the Sawa character falls prey to. This has a twin effect of leaving things a little vague, yet, bringing us into a real and hypnotically dazzling world.

However, the performances shine, elevating the film to a much more credible level. Sawa has grown into an actor of considerable depth and range and proves that he's at home as much here as he is in any number of his earlier, more emotionally shallow films.