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Written by Matthew Toomey

Created: 22 August 2002

I’ve liked Sandler is some movies but am a little tougher as a critic.  My personal favourite was The Wedding Singer but it’s still not a film I’d class in any elite category.  A regular comedian, he’s gotten a huge break with his film stardom but I’m sure he isn’t making the most of his opportunities.  In each film, he just seems to get dumber and dumber.

Jim Carrey goofed around in films like Ace Ventura and Liar Liar but used these films as a platform to take on more challenging roles in The Truman Show and Man On The Moon.  Both films won Carrey a Golden Globe and it proved he has what it takes as both a comedic and dramatic actor.  His career will be better for it.

Now I don’t know what Adam Sandler’s career aspirations are but he hasn’t come a long way in the last few years.  About twelve months ago, I heard Sandler was to try his first serious role in a film directed by Paul Thomas Anderson, a favourite director of mine who made Boogie Nights and Magnolia.  The film was to be called Punch Drunk Love and it became pretty much the number one film on my list to see in 2002.

The reason no one has heard of the film is because there has been a delay in its release.  Looking to be an early 2003 release in Australia, the film premiered back in May at the Cannes Film Festival and everyone was talking about how great Sandler was.  Anderson shared the top prize for best director of the festival.  If possible, I now want to see this film even more.

As I wait, I am forced to watch mediocre efforts like Mr. Deeds.  Sandler as Longfellow Deeds is not funny but Winona Ryder is unbearable to watch.  She’s probably just doing what the screenplay asks of her but her role as Sandler’s girlfriend, Pam Dawson is way too serious.  This is a comedy, nor a romantic drama!  If you think I’ll give a damn when Pam breaks up with Deeds and is seen crying at the bottom of her staircase, you’d be ignorantly mistaken.

Saving the film from total annihiliation are the small roles given to Deeds’ butler, played by Jon Turturo, and a friend played by Steve Buscemi.  They share all the spotlight and giving Buscemi the final line in the film is proof that despite having about 1/20th the screen time of Sandler, he is the real star.  Both Turturo and Buscemi have appeared together before and if you’re looking for a good video that’s only getting better with age, try The Big Lebowski.

With all that said, it’s a judgment call if you want to take this one on.  But ain’t offering any money back guarantees.

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Written by Matthew Toomey

Created: 15 August 2002

In the space of three years, Shyamalan has become one of the world’s prominent directors and with ascendancy has come power.  Without divulging its secrets, Signs is a very different film that if pitched to a studio by a first-time writer, would never make it past a first reading.  It’s unconventional and frustrates the audience by not showing them want they want to see.  In the wake last year’s terrorist bombings and in an era when studios hate taking even the slightest financial risk, only a writer-director like Shyamalan would have the clout to see Signs reach the big screen.  Thank goodness.

So what can I tell you about the film?  Not much I’m afraid.  I’ve spoken out recently against trailers that show every key plot twist and every important line of dialogue.  As an exception to the norm, the trailer for Signs gives nothing away and to reward Shyamalan’s efforts to keep the film’s identity hidden from us, I’ll keep my trap shut.  Concealing the truth only adds to the intrigue.  Aren’t you just the slightest bit interested by the part of the trailer where Mel Gibson’s daughter calmly says to him “Daddy, there’s a monster at my window, can I have a glass of water.”

Given that I refuse to speak about the film, I will spend the remainder praising the efforts of its creators and collaborators.  M. Night Shyamalan makes a more effective use of sound than any current filmmaker.  If you minimise dialogue, amplify background sounds and craft a subtle yet tingling film score, you can create tension amongst your audience.  As In The Bedroom showed back in January, a quiet cinema provides an eerily uncomfortable feeling - the perfect amphitheatre for a thriller.

With cinematographer Tak Fujimoto, Shyamalan also makes dynamic use of his camera lens.  The cameras are placed in deliberate locations and moved with precision to ensure we see only what they want us to see.  As you yourself will see, a reflection off a television screen or an expression on a character’s face can create more suspense than a conventional shot.  Nothing is rushed.

Both Mel Gibson and Joaquin Phoenix give intense performances but to an extent, are overshadowed by their supporters.  Poorly cast children can ruin best efforts (ala Jake Lloyd in The Phantom Menace) but Rory Culkin (younger brother of Macaulay) and Abigail Breslin are equal to their elders.  I also enjoyed the serious, somewhat doey demeanour of a police officer played by Cherry Jones - the most memorable of the cast.

With a mandate to improve cinema, M. Night Shyamalan is doing just that.  The “signs” are all good for the future.

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Written by Matthew Toomey

Created: 22 August 2002

Orange County is a little gem that has only recently snuck into Australian cinemas despite being released in the United States back in early January.  In this film, the “spark” comes from the performance of star Colin Hanks (yep, that’s the son of Tom).  Hanks has distinguished himself with small roles in other teen comedies such as Get Over It and Whatever It Takes but shines with the opportunity in a leading role.  He sure looks like a younger version of his dad and early signs indicate his acting ability may be of equal quality.

Shaun Brumder (Hanks) has had some fun through high school by going surfing, hanging out with friends and generally enjoying himself.  At the beach one afternoon, he finds an old book written by author Marcus Skinner.  He reads it several times and it inspires him to become a writer.  Knuckling down in his final year at high school, his guidance councillor assures him that he’s a shoe-in to get a spot studying literature at Stanford University (where Marcus Skinner teaches).  On her “advice”, he doesn’t even apply to other colleges.

The date of offer arrives and he is prepared for exciting news.  He races home to open the mail and... “I didn’t get in”.  Stunned, he realises the guidance councillor sent in the wrong transcript (of a much dumber student) playing a major factor in his rejection.  Not taking no for an answer, Shaun, his brother Lance (Black) and his girlfriend Ashley (Fisk) set off for Stanford to appeal for sympathy to the Dean of Admission.  It will be a very interesting trip...

Hanks plays it straight and unlike most characters in cheap teen comedies, he has intelligence.  There’s a scene late in the film where he finally meets Marcus Skinner (played by an uncredited Hollywood star) and the pure joy of the scene brought a near tear to my eye.  Also well created is Shaun’s relationship with his girlfriend.  Like any well matched couple, they gain much from each other’s advice and you can see the feeling between them without all the usual mushiness and obligatory romantic moments.

The rest of the cast are all nuts.  Jack Black wears few clothes and his grubbiness is the source of some great gags.  As Shaun’s divorced parents, Catherine O’Hara and John Lithgow are insane and the drunken mutterings of O’Hara will have you cringing with embarrassment.  With the smallest of roles, Chevy Chase and Lily Tomlin are listed during the opening credits but there are two much bigger stars (who aren’t listed) to keep an eye out for.  I guess they asked not to be credited but it’s still strange to see.

Ultimately, I enjoyed the mix of silly comedy and logical sensibility.  Writer Mike White and director Jack Kasdan worked together on the short-lived American TV series Freaks And Geeks.  Like MTV, maybe their true calling is on the bigger screen.

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Written by Matthew Toomey

Created: 08 August 2002

From the outset, you can see the obvious differences and sense those that are to follow.  There are no opening credits - this includes logos, studio information and even the film’s title!  The film just... begins.  Set in Australia 1922, we follow five people who are never named or identified - they are just faces.  There’s an Aborigine who being used by three police officers to track another Aborigine who after being accused of raping a white women, fled into the outback.

There are few words spoken by any of the cast.  The eerie silence (during which you won’t want to be munching away on your popcorn) is interrupted by unexpected musical numbers.  It’s like a mini-musical with the songs telling us more about the characters than their words and actions do.  An inventive technique which would have required much planning and deliberation before shooting.  Top credit to De Heer for not only taking a chance but for pulling it off.

The performances from David Gulpilil, Gary Sweet, Damon Gameau and Grant Page are exemplary and I expect several will receive recognition when the Australian Film Institute announces their award nominees in early October.  For that matter, I expect the film to receive recognition across most all categories.  The lack of dialogue forces the audience to focus on other, usually unappreciated, elements.  The desolate landscape is the ultimate backdrop and the cast are completely in touch with their characters evidenced by the many facial close-ups.

Another little quirk of the film is how De Heer uses Aboriginal art to illustrate key scenes.  For example, there’s a scene where Sweet kills a group of Aborigines.  Rather than show the brutal shooting, as Sweet fires his gun, we cross to a piece of art that shows the killings whilst still hearing the gunfire in the background.  Just another original element to an already special piece.

Rolf De Heer was born in the Netherlands but moved to Australia age the age of 8 and has become one of our leading filmmakers.  He won an AFI Award and received a special mention at the Venice Film Festival in 1993 for his unbearably shocking Bad Boy Bubby.  Twice he has had films selected to screen at the prestigious Cannes Film Festival -  The Quiet Room in 1996 and Dance Me To My Song in 1998.  Most will be unfamiliar with both De Heer and his works but the opportunity for you to become a fan has arrived.  All you need do is see The Tracker.

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Written by Matthew Toomey

Created: 22 August 2002

Y Tu Mama Tambien’s English translation is And Your Mother Too and I caught it at last month’s Brisbane International Film Festival.  The near sell-out crowd gave the film a very warm ovation and it was voted as the 5th most popular film of the 2002 festival.  Such acclaim and such praise has followed the film throughout the world.

Set in Mexico, teenagers Julio (Bernal) and Tenoch (Luna) have said good-bye to their girlfriends who have departed for a summer holiday in Europe.  Now, they’re hormonally charged and looking for a big summer.  At a lavish wedding they meet a Spanish vixen, Luisa (Verdu), who is engaged to their uncle.  She’s always wanted to see the beach and as boys do, Julio and Tenoch make up a fictitious beach and speak of its beauty to convince Luisa to come on a trip with them.

She decides not to but soon after she finds her fiancé has been unfaithful.  In a haze of confusion and mixed emotions, she calls Julio and Tenoch to accept their invite.  The three of them set off in an old car across the roads of Mexico in search of a beach that doesn’t exist.  It’s a beautiful journey where two stories are being told - one in the foreground and one in the background.

The time Luisa, Julio and Tenoch spend together will change all of their lives forever.  With Luisa acting as a catalyst, they discuss their sexual past and discover their sexual futures.  Shocking admissions are made by all of them which will jeopardise friendships and make the trip something they will never forget.  As the backdrop to this story, they see little snippets of Mexico as they travel across the country.  The film’s narrator acts as both a storyteller and tour guide on our journey.

Without spoiling any surprises, Y Tu Mama Tambien is a remarkable film emphasising the importance of an clever story.  For Mexican director Alfonso Cuaron, it’s his chance to show the world what his country is like and is capable of.  Cuaron has directed two American films, A Little Princess and Great Expectations, and his reputation has been largely responsible for seeing this film succeed.  A lesser director would have not have had the backing to have the film released outside of Mexico.

Cuaron’s style is quite special.  The narrator plays a key role in the film and is used to explain each character’s past as a guide to assessing their motives.  As a snub to suppressing censors, Cuaron has no qualms about showing sex and nudity on screen.  Disappointingly, the film has received an R-rating in Australia.  If you’ve seen the film, you’ll wonder how a film can be banned to those under the age of 18 when shockingly violent films (without sex or nudity) receive a lesser rating.

With seemingly everyone admiring the stylings of Alfonso Cuaron, it comes as no surprise to see him appointed as director of the third Harry Potter film to be released in 2004.  It may look like a gamble but he has the originality to breath life into the series (and it needs it).  Until then, if you’re looking a change in scenery, you are invited to see Y Tu Mama Tambien... and your mother too.