Details

Written by Matthew Toomey

Created: 24 August 2000

Working at home one night, Sebastian makes a major breakthrough and unlocks the secret.  Hungry to become the first human to undergo the transformation, Sebastian acts against the wishes of both the government agency and his teammates and injects the serum into himself to create history.  However, things go wrong when Sebastian finds himself unable to return to a visible state and this creates serious ramifications...

Hollow Man has potential which is exemplified by the dazzling special effects that are on the lips of all cinema goers.  It’s a small wonder how the computer imaging team led by guru Scott E. Anderson (Starship Troopers, Babe) has pulled it off.  Kevin Bacon manages to maintain a strong presence despite not being seen during most all of the film - I guess his voice was good enough.

A surprise for me came during the opening credits.  I was bemused to find Elizabeth Shue taking top billing over Kevin Bacon.  After seeing the entire film and given it’s advertising, I’m convinced Bacon had the lead and did have more screen time over Shue.

Although taking its time to develop the premise, the opening was promising.  What followed was a sharp decline where all interesting storylines were discarded before culminating with a big action swansong more unrealistic than that of Mission: Impossible 2 (and that’s a big task).  That’s what makes it all the more disappointing because at least with M:I-2, I was expecting Hollywood trash.

Paul Verhoven’s (Basic Instinct, Showgirls) direction does little to help the film with it all revolving around special effects.  It subscribes to my old theory - why pump millions of dollars into making a film seem more realistic when the screenplay does exactly the opposite. 

Given the film’s title, I could use many clichés to sum up my dissatisfaction with Hollow Man.  For the record, let’s say that the film was missing a lot more than just Kevin Bacon.

Details

Written by Matthew Toomey

Created: 17 August 2000

Road Trip is told through the perspective of university tour guide Barry (Tom Green) and he introduces us to Josh Porter (Meyer).  He’s a freshman at a New York college who is trying to conduct a long-distance relationship with his girlfriend, Tiffany, in Texas.  They talk every day on the phone and send videotapes telling each other just how much they love and miss each other.  Awww.

At a mad on-campus party, Josh hooks up with Beth, who’s had her eye on him for some time and in a wild evening, end up sleeping together and videotaping the process.  Lo and behold, the tape is accidentally sent to Tiffany and Josh has three days to get to Texas to intercept the tape and save his relationship.

The four guys who take the trip are your typical stereotypes.  Josh is the lead and the serious one.  E.L. (Scott) is the jock that gets all the laughs and gets them into trouble.  Kyle (DJ Quails) is the nerdy kid who discovers a new side of life.  Finally there’s Rubin (Costanzo) who’s mysterious and takes a back seat all the way.

Most of the jokes are an attempt to take further the gross-out comedy routine seen recently in American Pie and There’s Something About Mary.  There are some really disgusting moments that I’m ashamed to admit I found funny at the time although in hindsight...

Sean William Scott is creating a real niche for himself (following his turn as Stifler in American Pie) and is the standout amongst the four.  The funniest moments of the film though were reserved for Tom Green with his outrageous, side-splitting comedic style.

Bound to rake in plenty of bucks and provide spice to conversations, Road Trip has plenty of top moments with more than a dash of filler thrown in.  Laughter is always the best medicine and this film is guaranteed hilarity.

Details

Written by Matthew Toomey

Created: 17 August 2000

We meet Paul (Biggs) with his family at his country home being accepted to university in New York.  Paul is excited but worried that he may be overawed by the size of the Big Apple.  Upon arrival, he finds his three roommates are yahoos who are interested in beer, drugs, women rather than study.  Everyone thinks of him as a loser and things aren’t going too well until meets Dora (Suvari).  Paul falls for Dora but she’s currently seeing someone - her much older English literature lecturer, Professor Edward Alcott (Kinnear). 

Jason Biggs and Mena Suvari are reunited after their breakthrough performances in American Pie and are really good together.  They are certainly part of the better half of upcoming actors and actresses.  Their “different” hairstyles must have been a real blast for the film’s stylist.   Also keep an eye out for some small Hollywood cameos which I will not give away but were suitably chosen.

There’s quite a few sharp lines is Loser but it’s not a “split your sides laughing” type of comedy and that is made clear from the outset.  It’s a sweet story with some unusual locations and characters thrown in.  It’s not award winning material, nor is it that memorable, but it’s worth seeing Biggs and Suvari in action knowing they’ve both got a fruitful career ahead.

Details

Written by Matthew Toomey

Created: 17 August 2000

Some 28 years later, Childers, now a highly regarded military leader, is on assignment in Yemen.  His job - to evacuate the American ambassador (Kingsley) and his family whilst avoiding hostility with local protesters.  Unexpected events transpire and the American troops find themselves under direct fire and three soldiers are killed.  Childers gives command to “waste those mother fuckers” and 83 Yemenese (many women and children) are slaughtered.

Back in the U.S., a media circus has erupted and relations between the States and Yemen are at boiling point.  Someone needs to be held accountable for the massacre and the National Security Adviser (Bruce Greenwood) wants Childers “crucified” for the incident.  Thus, a trial begins.

Childers calls on Hodges to defend him whilst young gun Major Mark Biggs (Pearce) is the prosecutor who’s out to make a name for himself.  The key issue of the trial is whether those fired upon were armed and with little evidence to support his “yes” argument, things do not bode well for Colonel Childers.

Rules Of Engagement is an attracting thriller boasting one of the best casts of the year.  Tommy Lee Jones (The Client) and Samuel L. Jackson (A Time To Kill) are no stranger to courtroom dramas and each seem to love the roles they have been given.  Guy Pearce’s American accent needs some work but its great to see Australian representation.

Not all the pieces fit but it’s enjoyable to watch a film where there’s doubt as to how things will unfold.  In most films, we see a pivotal scene that reveals all but not so in Rules Of Engagement.  The leading piece of evidence is a videotape from a security camera atop the embassy which cannot be located.  Conventional wisdom suggests that the tape will be found 10 minutes from film’s end and they’ll all live happily ever after.  Not so.

Most political/legal dramas are glossed up and this is no exception.  A particular downer is the way the National Security Adviser and the Ambassador attempt to conceal evidence - it didn’t make sense as to why they did it and why they we’re so obvious when doing it.

Regardless, it’s a potent film.  The opening half-hour features some fierce war scenes that rival the standards set by Saving Private Ryan.  Whilst not a true story, it has a lot to say about the military and corruption - attracting topics in most anyone’s book.

Details

Written by Matthew Toomey

Created: 17 August 2000

Frances, known to all as Frank, is a devout Catholic who’s lived a reclusive life since her husband passed away several years ago.  Her son David (Newton) wants to see her mother “get a life” and bluntly puts it to her that she should enrol in an adult education course to get out of the house and learn new things.  Frances takes David’s idea one step further.  She enrols at the same Sydney university David attends and the two worlds are set to collide.

Overwhelmed by new experiences, Frank is soon at odds with her university lecturer (Neill) over a serious plagiarism dispute.  Meanwhile, David finds himself lusting after the girlfriend of his best mate.  Sparks are in the air and when they catch alight, Frank and David find their relationship severely strained.

My Mother Frank is a strong story developed through really great performances.  It is ultimately the tale of a mother-son relationship and I’m sure many can relate to their emotional states.  There are also some nice scenes involving the continual appearance of two nuns.

Director Mark Lamprell could not find the perfect actress to play Frank in Australia and was forced to look abroad.  His eventual choice, Sinead Cusack, is an Irish actress who’s most widely seen performance was in Stealing Beauty so she’s not exactly a big name.  Regardless, she is the shining light of My Mother Frank and her performance is one of the best of the year.  Her character has a tough exterior hiding a vulnerable interior and Cusack exhibits these qualities with her brilliance.  Matthew Newton, son of Bert, also shows he’s got a big future ahead of him with this film coming hot on the heels of his role in the big Australian hit, Looking For Alibrandi.

It is the strong screenplay that makes My Mother Frank such an enjoyable view.  There has been a striking lack of story in many films this year that makes this all the more appreciated.  It doesn’t rely on typical Australian stereotypes and doesn’t rely on rehashed Hollywood formulas.  Winner of the audience prize at the 2000 Brisbane International Film Festival, My Mother Frank is not to be missed.  It’s a tribute to Australian filmmaking and shows the rest of the world just how we like to see it done.