Details

Written by Matthew Toomey

Created: 23 August 2001

Spanning from the late 60s to the early 90s, the film is gold for the costumers and make-up crews.  We meet George as a youngster living in a house of poverty with his father (Liotta) and mother (Griffiths).  Dad warns him that money isn’t everything (hint hint) but when George moves to California and hooks up with local drug dealer Derek Foreal (Reubens), a new world opens up.

In an era where demand far exceeded supply, George’s business became a multi-million dollar empire overnight.  Within ten years, George owned houses, boats, airplanes and despite increased government surveillance, was smuggling up to 50kg of cocaine (otherwise known as “blow”) between countries.  He was the man.

Sure enough, it all came crashing down but according to screenwriters David McKenna and Nick Cassavetes, it was everyone else’s fault and this is Blow’s major flaw.  Few performances impress and Depp is a little too cool and glamorous for the role (you’ll see what I mean when you get a look at the real George Jung in the final scene).  Griffiths and Liotta are the cream of the crop but considering Griffiths is five years younger than Depp, is it really appropriate to have her play his mother?  Romantic “cameos” are provided from starlets Franke Potente (Run Lola Run) and Penelope Cruz (Captain Corelli’s Mandolin) but neither is particularly dazzling given the film’s focus is on drugs rather than romance.

The misleading trailers for Blow paint the flick as a slick, hip, comedy.  Yet, the lack of purpose and frustrating monotony have the film share more similarities with a two hour university lecture.  Perhaps the creators were sniffing a lit blow during production.  It would explain a lot but as I keep saying, it’s not an excuse.

Details

Written by Matthew Toomey

Created: 23 August 2001

I say this because Neil LaBute is fast becoming such a director.  He burst to acclaim when his very first film, In The Company Of Men, was named Time Magazine’s best film of 1997.  His follow up was the less successful Your Friends And Neighbours which didn’t receive a theatrical release in Australia.  Nurse Betty marks his third film but it’s the first time LaBute has directed a film he did not write himself.

Betty Sizemore (Zellweger) is a sweet young lady working at a local diner.  She happy with what life has provided her and her greatest pleasure comes from watching her precious daytime soapie.  Betty’s husband, Del (Eckhart), is sleeping around on her and instigating major drug deals but Betty’s innocence keeps her believing he really loves her.

When a drug deal goes wrong, two professional hitmen, Charlie (Freeman) and Wesley (Rock), kill Del in his home unaware that Betty has been watching in the room next door.  The shock of seeing her husband brutally murdered sends Betty into a bizarre case of shock that defies belief.  She suddenly believes she’s the ex-fiancé of Dr David Ravell (Kinnear), a television character in the soapie.  Her departure to L.A. to be with David sparks a riotous comedy.  Charlie and Wesley discover that Betty was a witness and are hunting her to finish the job.  Two local police officers know she saw the killers and they’re hunting her for evidence.  But Betty only has eyes for the fictitious David Russell (aka George McCord) who’s in for the surprise of his life when she arrives.

Nurse Betty is the most intelligently funny black comedy since Election.  The characters are all insane but the frequent twists push the story in new directions.  The freshness of the idea rubs off onto the cast who give honestly realistic performances.  Despite the craziness of the whole situation, they act as if it’s a serious drama.

Renee Zellweger is incredible and her Golden Globe winning performance is the best since, well, Renee Zellweger in Bridget Jones’s Diary.  Morgan Freeman is always good but recent criticisms of Greg Kinnear and Chris Rock can be dispelled (at least for the time being) as they’ve finally found the perfect film for their limited ability.

One feels this is a screenplay that wouldn’t ordinarily have been produced had a quality director like LaBute not signed on.  The early graphic violence and complicated plot would not have grabbed the intention of studios preferring less risky ventures (e.g. Jurassic Park 3).  Dedicated to breaking new grounds, directors like LaBute, Kevin Smith and Paul Thomas Anderson are even more important than the Steven Spielbergs of today.

Nurse Betty won the best screenplay prize in Cannes last year and received a release in the United States thereafter but it’s taken a long twelve months for the film to make it to Australia.  The wait has been worth it.  Very well worth it.

Details

Written by Matthew Toomey

Created: 23 August 2001

Pelagia (Cruz), a ravishing young lady, lives with her elderly father (Hurt) in a small coastal house with a breathtaking view of the Ionian Sea.  In the quiet community, her heart has been won by Mandras (Bale), a reputable local fisherman who would make a worthy husband.  Seeking the advice of her father, Pelagia is warned of the upcoming war and that marriage shouldn’t be rushed into.  Mandras must go to Albania to fight the advancing Italians but before leaving, makes a vow to marry on his return.

In a fierce battle, the Italians surrender but Mandras is not heard from.  Having written letters every day, Pelagia cannot understand why Mandras does not reply and fearing him to be dead, convinces herself to let go of his love.  Soon after, the Germans join forces with the Italians and Greece is invaded.  Cephalonia is used as a base for Italians soldiers, who despite their enemy status, become an appreciated part of the community with their gentlemanly-like approach.

Captain Antonio Corelli (Cage) is a respected leader of the Italians and takes residence in the home of Pelagia and her father.  Pelagia is understandably cold towards his presence but an undeniable attraction develops between them.  Adding to her already fragile emotional state, doubts flood her every thought.  What will happen when to Antonio when the war is over and what will happen if Mandras should return?

Filmed on the actual island, Captain Corelli’s Mandolin cannot be criticised for its setting.  At times, I felt myself more attentive to the stunning backgrounds than the characters dominating the foreground.  It’s a kind of beauty that has you saying after the film, “geez, I’d like to go there someday.”

The cast deliver strong performances with Nicolas Cage startlingly impressive.  I’ve been critical of him since Leaving Las Vegas but his slow-talking downplayed style suits the role of Antonio.  Penelope Cruz’s starlet power seems destined to keep her limited to romantic roles with Captain Corelli following All The Pretty Horses, Blow and Woman On Top in her quick rise to fame.  Few may not recognise Christian Bale who with a beard and an extra 15kg looks anything but the image of Patrick Bateman we came to know this time last year in American Psycho.

Settings and cast aside, the film falters in its failure to ignite passion.  This is not a story about the injustices of war - it’s a tale of love and how cruel and painful it can sometimes be.  All things given, I felt no emotion towards Cage and Cruz and was more attracted by the stylish introduction and key battle scene.  The final half-hour left me bored stiff as I expected the closing credits to start rolling but was kept waiting and waiting.  Who cared what finally became of Antonio and “poor” Pelagia?

John Madden has directed a well-developed production and credit must be given where due.  I must specially acknowledge composer Stephen Warbeck who’s score captures the feeling of the era with precision.  I own more than one of Warbeck’s soundtracks (Billy Elliot, Shakespeare In Love) and this is another that as of tomorrow, goes on my immediate shopping list.

Despite best efforts, Captain Corelli’s Mandolin just does not effectively translate on screen.  Void of emotion, I don’t expect your attention span will last the distance.

Details

Written by Matthew Toomey

Created: 16 August 2001

As a prequel to Kiss The Girls, Police Detective Alex Cross (Freeman) reprises his role as a leading expert in criminal profiling.  Eight months earlier, his partner put her life on the line and was killed on duty.  In semi-retirement since that fateful night, Cross still blames himself for her death and he hasn’t been the same since.

Attending a local school is 12-year-old Megan Rose (Boorem).  As the daughter of a White House Senator, she has to be monitored daily by Secret Service Agent Jezzie Flannigan (Potter) to ensure her safety.  One lunch hour, Megan is called into the office of her teacher Gary Soneji (Wincott) who isn’t quite who he appears to be.  Soneji kidnaps Megan leaving a message specifically for Alex Cross that he has her.  What is his motive?  How did he get past security?  Why has he involved Cross?

Yes, the answers are gradually revealed but no, they aren’t necessarily believable.  Last week I promoted Sean Penn’s The Pledge as a perfect example of a crime flick that defies convention.  This week, I can show you the exact opposite.  Along Came A Spider is just nonsense.

Morgan Freeman is a great actor and for the opening hour, his passion for the case makes the movie worth following.  He carefully dissects the clues and slowly puts the pieces of puzzle together.  Then, the film spirals.  Following a $10m ransom drop, a series of bizarre twists and strange coincidences left me shaking my head.  Without giving anything away, I’ll just say that the whole “Aces & Eights” thing is just what I’m talking about.

I haven’t read James Patterson’s novel (upon which the film is based) but can safely conclude that this is a very weak adaptation.  New Zealand director Lee Tamahori (Once Were Warriors) impresses with his work in Along Came A Spider but he deserves more substantial and meaningful material.  Along came… a waste of money.

Details

Written by Matthew Toomey

Created: 23 August 2001

Attempting to profit from a jousting contest with fellow peasants, Roland (Addy) and Wat (Tudyk), William’s plans go awry when their experienced jouster kicks the bucket before his final duel.  Desperate for prizemoney and already with an unbeatable lead, the three collude and allow William to mount his horse and replace the deceased.  In medieval times, such contests were the best of three but a competitor is automatically eliminated should he be knocked from his horse.

Unrecognisable under his armour, all William need do is remain on his horse and 15 silver pieces will be their reward.  A harsh challenge for a newcomer but it turns out only to be the start of things to come...

Convincing Roland and Wat to part with their winnings, William’s determination and stupidity develops a belief that he can compete against stronger competition on a wider stage.  Roland and Wat are in it for the bigger prizemoney but William yearns for the glory.  As he says - “I won’t spend the rest of my life as nothing.”

There is a catch.  One must be of noble birth to compete in lucrative tournaments and William is anything but.  Travelling to the first contest, they come across a nude writer by the name of Geoffrey Chaucer (Bettany).  In returns for clothes, his craft with the pen will forge the royal documents that can transform William into the fictitious Count Ulrich von Lichtenstein.

William’s courage makes him successful and his flourishing popularity soon the heart of Jocelyn (Sossamon), a beautiful and respected Danish lady.  Yet with fulfilment in sight, the undefeated French jousting champion, Adehmar (Sewell), will do anything to keep him from both love and glory.  There’s a score to be settled...

At 132 minutes, A Knight’s Tale is lengthy and surprisingly I found myself more entranced by the ending than the opening.  The first three quarters lacked purpose and was little more than a combination of repetitive jousting sequences encompassed by a few jokes and silly subplots.  The jousting itself lacked credibility and I couldn’t understand why the opposing competitor often put up such little challenge.

This is not a film to be taken seriously and the “fairy tale” finale is appropriate given what precedes it.  The intricate dialogue and fluent dance sequences are so perfect, they could be construed as poking fun at the way other films have depicted the 14th Century era.

The film’s spark comes from Paul Bettany, who as Sir Ulrich’s introducer, mouths sparkling pronouncements on his entering of the arena.  Australian Heath Ledger is suitably cast but director Brian Helgeland relies too much on facial close-ups - an obvious attempt to woo a female audience.

Despite reservations, I was left genuinely surprised by A Knight’s Tale.  The film is far from flawless and more could have been made of the modern soundtrack (as it was in Moulin Rouge) but the fierce jousting, light-hearted romance and sweet sentimentality provide the model mix to satisfy an audience’s “escape from reality” desires.  So what are you waiting for?  “Let’s dance you and I.”