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Written by Matthew Toomey

Created: 24 May 2001

Joe Dirt (Spade) was left by his parents at the Grand Canyon when he was eight years old and he’s been on a quest to find them ever since.  His journey is an interesting one, well at least according to radio DJ Zander Kelly (Miller) it is, because he drags Joe into the studio to tell his story live on air.  That’s where the story begins and we soon learn that Joe is not a loser, but a decent human being who is often taken advantage of.

Sorry if I don’t start crying with sentiment but it is a very strange story and I don’t know why the writers (which include Spade) have gone for the schmaltzy ending.  I find Spade a very funny actor and we see him on TV in Just Shoot Me but he’s also been in such hilarious films as Tommy Boy and Senseless.  He still had me chucking in Joe Dirt but I would have preferred to see him tackle more provocative and adventurous humour then the standard gross-out garbage that continues to be served up.

There’s one scene where Joe is covered in liquefied shit and that seemed to get the biggest laugh from the audience.  Now do you understand why I’m not glowing with praise?  In two weeks, Freddie Got Fingered will be released which threatens to go even further into the pit.  I am already bracing myself for the experience.

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Written by Matthew Toomey

Created: 17 May 2001

So they turn up with no idea what they’re getting themselves into.  In fact, we don't know either and credit goes to writer/director Christopher McQuarrie (The Usual Suspects) for another intelligent screenplay.  Rather than reveal all about the characters, only tiny pieces are provided and some are not given at all.  For example, just what did happen in Baltimore? 

I won’t divulge more of the screenplay except that it also features two bodyguards (Taye Diggs and Nicky Katt), a wealthy businessman and his wife (Scott Wilson and Kristin Lehman), a bag man (James Caan) and a pregnant lady (Juliette Lewis).  Don’t worry if you’re confused - once you see the film it will make sense.

The film could be criticised for being dull at times (and in fact two people walked out of the cinema in which I saw it).  I disagree with that assessment and enjoyed the film for what it is.  It’s a variable mix but the cast are excellent with emphasis on Del Toro and Phillippe.  Criminals are often portrayed as dumb but these two (whilst not geniuses), know what they’re doing and how to play the game.  James Caan is also excellent in a role I’m sure he knew well.

Set over a 24 hour period, The Way Of The Gun is a really well told story.  Whilst it doesn’t have the shocking revelation provided by McQuarrie’s last effort, The Usual Suspects, you can tell he is a very talented writer and knows how to keep the audience’s attention.  Not a film you should overlook.

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Written by Matthew Toomey

Created: 24 May 2001

Good evening ladies and gentlemen and welcome to the Moulin Rouge cabaret club.  Run by the renowned Zidler (Broadbent), it is home of to one of Paris’s luscious courtesans, Satine (Kidman).  With the power to “make men believe what they want to believe”, Satine cannot allow herself the luxury of love and yearns to become a theatrical star.

A middle-class writer named Christian (McGregor) has arrived in town and his “talent” is soon discovered by a small theatrical troupe.  Asking him to craft their new musical, Spectacular Spectacular, they have arranged for him to meet Satine to coerce her to take on the title role.

Simultaneously, Zidler has arranged Satine to meet and court the Duke of Monroth (Roxburgh).  Monroth has agreed to provide the resources to make Satine a star and the money to put Spectacular Spectacular into full production.  His only condition is that Zidler sign a contract that binds Satine exclusively to him and as security, Zidler has put up the deed to the Moulin Rouge.

In a coincidental mix-up, Satine believes Christian to be the Duke and falls in love only to find she has mistaken his identity.  When the real Duke is introduced, Satine’s heart knows she cannot leave Christian and her life is to be torn apart.  Will she risk her career, her dreams and the Moulin Rouge all in the name of love?

Baz Luhrmann’s most recent effort, Romeo And Juliet (with Leonardo DiCaprio and Claire Danes) is a personal all-time favourite and Moulin Rouge utilises many of the concepts he previously explored.  The costumes and sets defy belief and Luhrmann again uses fast editing (particularly in the first half hour) to turn the period-piece genre upside down.  Curiously, the story resembles the Academy Award winning Shakespeare In Love with its tragic tale of hidden love and theatre.

Bringing back memories of classic 60s musicals, Moulin Rouge is anything but conventional.  Despite being set in 1900, over 30 songs are used (some old and some new) with the highlight being Jim Broadbent and Richard Roxburgh’s rendition of Madonna’s Like A Virgin.  You can’t do anything but laugh.  Current musicians also feature with songs from Christina Aguilera, David Bowie and Fat Boy Slim.

As I hinted from the opening phrase, this may be dazzling array of music and colour but without love, there is no story.  During the opening hour, I was hesitant of Kidman and McGregor and failed to see a connection.  Yet as the dramatic conclusion unfolded, the two combined unlike recent screen couples and audience members were left wiping away the tears.  This should serve as a warning to those daring to watch without tissues handy.

Moulin Rouge is the most inventive film so far this year and the entirely Australian production was selected to open the Cannes Film Festival two weeks ago.  Nicole Kidman deserves to be in line for an Oscar nod but the best performance comes from Jim Broadbent as Zidler.  With all the lavish costumes and make-up, even I missed some of the Aussie cameos - keep your eyes peeled for Kylie Minogue, Christine Anu, David Wenham and Garry McDonald.

Love is a word that can never be defined and yet is the single emotion that drives each and every one of us.  It’s almost impossible to express on screen but in very rare instances we see just how powerful love can be.  Moulin Rouge is one such movie.

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Written by Matthew Toomey

Created: 10 May 2001

In Mexico, they meet the powerful and wealthy Rocha (Blades) who owns many thousand acres and has a proud heritage in breeding horses.  Offering John and Lacey work, the two enthusiastically accept and soon develop respect amongst the townsfolk - usually a tough job for Americans.

Things change though when John falls for Rocha’s beautiful daughter, Alejandra (Cruz).  Rocha will only have the best for his daughter and John Grady Cole is not a worthy enough man.  Framing him of a crime he didn’t commit, John winds up in jail and torn from Alejandra.  His life is no longer about love but about learning to survive the brutality of the penitentiary.

After a nasty attack from an inmate in the mess hall, John thinks his life is over but amazingly he is spared and released.  Alejandra pleaded with her father to set John free and he agreed but on one condition - Alejandra must never see John again.

All The Pretty Horses spent an eternity in post-production as a result of Billy Bob Thornton’s original cut clocking in at over 4 hours.  Having heard the film was in development, I tried to track down a copy of Cormac McCarthy’s novel and finally found it in a bookshop in Tasmania in March 2000.  It’s taken 14 long months to finally see Ted Tally’s adaptation of a book I much enjoyed.

The film’s fundamental problem stems from perhaps its original length - events do not flow well and important scenes are rushed and overlooked.  As a result, it’s hard to get emotionally involved in what is supposed to be a tragic love story in the vein of Romeo and Juliet.  The final fifteen minutes were dreary and tedious which is never a good impression to leave on a departing audience.

Billy Bob Thornton is rumoured to be releasing the full 4 hour version on DVD and I am curious to see if it does improve the current product.  Until then, we are left with an inferior version that despite top marks for acting and direction, doesn’t meet expectations.  Still, with The Mummy Returns the other choice on offer this week, All The Pretty Horses looks a more attractive proposition.

Details

Written by Matthew Toomey

Created: 17 May 2001

On the case is high-profile police officer Eddie Fleming (DeNiro) and fire officer Jordy Warsaw (Burns).  Eddie’s celebrity status has him on the cover of People magazine and a regular on a trashy expose TV show, Top Story, hosted by Robert Hawkins (Grammer).  Karel sees an edition of Top Story profiling a criminal who is receiving millions in book and TV deals for his story which gives him an idea.

Welcome to America - “the country where no one is responsible for what they do” as Karel acutely phrases it.  His plan is to kidnap a high profile celebrity (and what better choice than Eddie Fleming), kill him and sell the video tape to Top Story for a million dollars.  What news network would turn down such exclusive footage?

From the above, you’d think this is a story about how cruel and sick the media can be but the plot is so ludicrous, it’s impossible to believe.  As if anything this bizarre could happen in reality and it plays more like a spoof than a serious cop thriller.  It’s ironic that the film features graphic violence given the message it promotes.  You can’t have your cake and eat it too.

Robert DeNiro and Ed Burns make a great team and save the film from total degeneration.  Watching the two zip across New York hunting for clues is suspenseful and I learnt a few tricks of the trade along the way.  Where exactly has Ed Burns been lately?  This is his first film since Saving Private Ryan three years ago and his performance makes us realise what we’ve missed.

I’m often talking about censorship on screen and am tired of those trying to ban certain material.  It’s all a case of supply and demand - if you don’t watch it, studios will stop making it.  The recent Big Brother Uncut series has resulted in Channel Ten being flooded with abusive letters and emails.  Boohoo.  It is that simple - if you don’t like it, don’t watch it and don’t spoil it for those people who choose to watch.

I won’t continue with my whole “freedom of speech” essay but it’s easy for a film to criticise those that televise shocking material when it doesn’t look at the other side of the argument.  Like most decisions, you have a choice and in this instance you can either go see 15 Minutes or you can stay at home.  I’d advise you to stay home but like any of the reviews I write, is it really going to stop you?