Details

Written by Matthew Toomey

Created: 28 November 2002

Hmmm, let me try to make some sense out of this script although thanks to some dodgy editing and screenplay full of holes, there are some elements that may never be explained.  Alice (Graham) is pretty content with life and has a nice boyfriend.  Walking to work one morning, she reaches to push the pedestrian button at a set of streetlights only to find another gentlemen (Fiennes) pushing the button at the same time.

Their eyes meet - oh my god, it’s true love.  So they wind up going back to his place and making love, um, quite a few times.  The next day, she finds out his name, Adam, and more about him.  He’s a renowned mountain climber who’s previous girlfriend was killed in a nasty avalanche.  Alice immediately breaks up with her current boyfriend, and soon Alice and Adam are married and living together.

But Alice receives notes in the mail and mysterious telephone calls.  They warn her to leave Adam before it is too late.  This suddenly creates doubt in Alice - exactly how much does she know about her husband’s past?  Should she put faith in him or is it time to start investigating the truth in these messages?

Quite frankly, I couldn’t care.  The ending is ludicrous and doesn’t even answer half the questions - that’s really frustrating.  There’s some unusually steamy sex early on in the production to give a bit of spice but it slides away from there.  Everyone just behaves so stupidly and so forcibly to make the script work.

In a quiet theatre (with not too many patrons I might add), the term Killing Me Softly is quite apt.  It’s how I felt sitting there watching that screen.  So please, make sure that you don’t end up feeling the same way - and just see something else!

Details

Written by Matthew Toomey

Created: 21 November 2002

Fired after years of slacking off, Suzette reflects back on days past and decides after almost 20 years, to give Lavinia a visit.  She begins a journey across the country only to soon run out of fuel.  At a gas station, she meets Harry (Rush), a washed-up screenwriter with obsessive compulsive disorder.  He’s fed up with the standard of his travel bus and offers Lavinia a tank of fuel if she’ll also take him to Phoenix.

As expected, Lavinia isn’t thrilled to see Suzette.  That part of her life had long been buried and she’s happy with the way things are.  Or at least that’s what she thought.  Suzette’s arrival has her suddenly reevaluating life.  Yes, everyone on the outside has the perception that she lives the perfect life but on the inside, there’s a yearning for the excitement and adventure she felt as a carefree teenager.

Goldie Hawn and Susan Sarandon are both Academy Award winning actresses and light up the screen with hilariously sentimental performances.  On a looks versus age basis, Hawn and Sarandon are the best in the business.  It’s almost impossible to believe they’re 57 and 56 years old respectively.  They’re performances in The Banger Sisters are relaxed and you can see many impromptu elements.  Many scenes see them splitting open with laughter and I sure they’re not acting.

It’s an unusually conventional role for Geoffrey Rush but he gets great audience response with his quirky character.  He’s the perfect supporting actor alongside these two starlets.  Erika Christensen (Traffic, Swimfan) and Eva Amurri make great loathing material as the daughters.  Casting doesn’t come much simpler that of Amurri.  She plays Sarandon’s daughter in the movie and yep, she’s Sarandon’s daughter in real life.

Maybe not realistic, but these characters are fun and easy to love.  I can see the target audience aimed higher than that of myself but it’s certainly a sweet film for all ages.

Details

Written by Matthew Toomey

Created: 28 November 2002

Details

Written by Matthew Toomey

Created: 21 November 2002

Two men in separate vehicles have an accident on a freeway. Neither men have a scratch on them but one of the cars won’t start. Both men are running late for important meetings at the courthouse. One is a lawyer (Affleck) who has documents which must be immediately lodged – they will give his firm control over $107m worth of assets left by a late client. The other is an alcoholic father (Jackson), who must appear to fight for custody of his children.

The father asks for five minutes so they can exchange insurance details. The lawyer apologises, pulls out his briefcase and offers to write a blank cheque for any damages. The father refuses and wants to do things by the book. The lawyer now must make a decision. What’s more important – staying five minutes to exchange details or getting back in his car to get the important documents lodged on time? He chose the later. He jumps back his car whilst the father shouts at him for a lift. “Better luck next time” the lawyer replies with.

What would you do in the same situation? Where the line between right and wrong is positioned depends on who you are. Some would think the lawyer made the correct decision and some would think otherwise. His job was on the line. How was he to know the father had an equally important engagement to be at?

The father misses his hearing and loses custody of the children. The lawyer makes his appointment on time but realises he doesn’t have the lodging documents – he left them at the accident! Now the father has the documents and when the lawyer makes an effort to contact him, he knows they must be important to him. The balance of power has shifted. It’s now time for the father to make a decision – does he give the file back or not? It’s a cat and mouse game from here with control swaying back and forth between them.

This is the essence of Changing Lanes. It’s a sequence of events where characters are forced to weigh up alternatives in on-the-spot situations and make snap decisions. They often don’t know all the facts, nor have the time and patience to seek them out. Consequently, decisions they believed to be right, later become wrong. But this is what life can be all about.

When you get to the end, you’ll know a lot more about these characters. The finale may seem to wrap things up by having both parties discover the error of their ways but have they actually learnt anything? It’s open to interpretation. Such thought provoking subject material is an oddity these days so congrats to screenwriter. There are a few little anomalies in the script I’d like to look into - events that seem to extend the margin of plausibility beyond its limits. It may not be perfect, but the message still gets across.

It’s been six months since its American release but finally the distributors have found a slot in the Australian schedule for this aptly titled film. So if you are changing lanes, make sure it’s into the one that’ll get you fastest to this movie. And if you don’t see it? Well that would be a wrong decision. Wouldn’t it???

Details

Written by Matthew Toomey

Created: 28 November 2002

On the verge of starting his second year at school, Harry is warned by a house-elf named Dobby that “Harry Potter must not go back to Hogwarts this year”.  There is danger afoot but it’s not going to stop Harry - especially considering how bad his home life has become with Uncle Vernon and Aunt Petunia.

Soon after his arrival at Hogwarts, Harry discovers the truth in Dobby’s warnings.  Some of his classmates are found frozen stiff (victim to a spell of petrifaction) and there’s talk that all students will have to be sent home.  Such mayhem is the delight of Lucius Malfoy, a powerful wizard who is rumoured to have links to the Dark Arts.  He can use the attacks as justification to overthrow principal Albus Dumbledore (Harris) and have the school run his way.

Naturally, it’s fallen upon Harry Potter to save the day.  A message written in blood on a corridor wall warns that the Chamber Of Secrets has been opened and the Heir Of Slytheren has arrived.  So what is this Chamber of Secrets?  Who is the Heir of Slytheren?  What is it that Harry can do?

The film’s length needs to be addressed.  For a family film, 161 minutes would be considered an arduous test but with the multitude of characters and lengthy plot, there’s few dull moments.  Judging by the excited reactions from the sold out crowd in my opening night screening, most the audience agreed.  There’s plenty of material to go the distance.

The humour lacking in the first novel has been rediscovered in this adaptation.  Despite not being the first casting choice (Hugh Grant was), Kenneth Branagh is hilarious as the superficial teacher Gilderoy Lockhart.  Seeing the late Richard Harris his final role also brings to the film added sentiment - Harris’s larger role in the sequel is appreciated and he will be sorely missed in future instalments.

Our younger cast members have seen their voices break but talent-wise, they have developed over the past twelve months.  As Harry, Daniel Radcliffe delivers his lines with more confidence - like a new superhero.  Rupert Grint (as Ron) has been given more flexibility and adds much humour with his misadventures and facial expressions.

In the back of your mind, you know the film is flooded with visual effects but it’s impossible to identify the line between truth and fiction.  Director Chris Columbus has returned and once again added much to the project - he has a great knack with kids.  That’ll be it though for Columbus as a new director, Alfonso Cuaron (Y Tu Mama Tambien), has been asked to direct the third film to keep the series fresh.  Expect Harry Potter And The Prisoner Of Azkaban to be released in mid 2004.

Already guaranteed to be a classic, the Chamber Of Secrets has something for everyone.  A dazzling fantasy world that hopefully will appreciated more so, in years to come.