Details

Written by Matthew Toomey

Created: 05 July 2001

Sammy has felt alone for a long time.  Both parents were killed in a car accident when she was young and her brother hasn’t been heard from since working in Alaska over six months ago.  Her ex-husband split and suffice to say, isn’t someone she wants to see again.

Unexpectedly, she receives a letter from Terry (Ruffalo), her brother, who writes to say he’s coming home.  Sammy is overjoyed by the news and in her enthusiasm, thinks that everything will be like it always was.  As we’ve all learnt, time changes people and Terry isn’t how Sammy remembered him to be.  He’s broke, has just spent three months in jail and has a girlfriend who just unsuccessfully tried to commit suicide.  He hasn’t really come home to visit Sammy - he’s come home because there’s nowhere else to go.

Despite initial reservations from Sammy and Rudy, Terry’s presence breaths new life into the household.  He develops a bond with the impressionable Rudy who appreciates a male influence.  Sammy just loves being surrounded by the two most important people in her life and she suddenly finds herself with purpose and direction.

The developing instability in the house has brought secrets to the surface.  Rudy wants to know about his father, Sammy is sleeping with her boss and Terry’s depressed at having no future prospects.  As stress levels rise, all three realise things are changing and will never be the same again...

This is a beautiful story from writer/director Kenneth Lonergan and you will be hard pressed to find two better performances this year than those offered by Laura Linney and Mark Ruffalo.  Both characters are vulnerable and their facial expressions say more than words ever could.  Scenes between Linney and Ruffalo are absorbing thanks to the honestly furnished dialogue crafted by Lonergan.  It examines human emotions that are often considered too in-depth to explore in a simple movie.

Linney was rewarded with a deserved Academy Award nomination (but lost to Julia Roberts) but unfortunately Ruffalo couldn’t muster the same attention in the Oscar advertising bandwagon.  Lonergan was rewarded by his peers when the Writers Guild of America found his original screenplay worthy of the award for the year’s best.

You Can Count On Me is frankly one of the best films released to date in 2001.  It’s a story about love, it’s a story about friendship and it’s a story about family.  There are people we love who shape our own lives but it’s usually only in retrospect that we understand and appreciate just how much so.  Those special people, who no matter what, we can always count on.

Details

Written by Matthew Toomey

Created: 21 June 2001

I’m surprised that this film was released at all.  There is an American cartoon called Recess and this is the full feature movie for fans of the show.  The problem is that the show has never been seen in Australia and won’t be screened for the first time until July (and even that will be on the Disney Channel).  How is it that Disney expects people to pay money to see this poor animation when they don’t know much of the characters and when Shrek’s screening in the theatre next door?

The story revolves around a group of kids who are now on vacation after finishing the 4th grade.  Most are going away to summer camps but T.J. is staying home and bracing himself for a very boring time.  That is until he discovers some unusual lights emanating from the school and closer inspection reveals a mastermind with a devilish scheme.

Former principal Dr. Benedict has developed a laser that when shot from the school’s roof, will change the position of the moon.  This will turn summer into winter and eliminate the excitement of the holidays.  This will force all students to return to school early and make them to study even harder.  T.J. calls back the gang from camp to sabotage Dr. Benedict’s evil plot.

It’s a weak story combined with weak drawings and with the high bar being set by Chicken Run, Toy Story 2 and Shrek, a film like this doesn’t cut it anymore.  Save yourself the trouble and forget it - it’s aimed at a limited demographic and adults will find nothing to laugh about.

Details

Written by Matthew Toomey

Created: 28 June 2001

It took Tully time to regroup but found comfort in Mullet’s brother, Peter (Gilbert), the town’s local police officer.  They married but live a cold life together - Peter has trouble expressing himself emotionally leaving Tully constantly frustrated.  Mullet’s sudden appearance leaves them all stunned.  He intended to rekindle his relationship with Tully and is upset by Peter stomping on his ground.  Tully is shaken up and confronts Mullet with her rage but the strong love she has for him still exists and things start to get very complicated...

Tremendous dialogue from writer/director David Caesar breathes much life into the story and its characters.  As we are told during the introduction, not a lot happens in small communities but one’s business is everyone’s business and the most insignificant event can become folklore.  Whilst the story is ultimately a drama, there’s lots of sly humour emanating through the film and Mullet’s parents are perfect examples - they just act like normal people which makes them so funny - it’s as if they’re not acting.  Ben Mendelsohn is great and so is Susie Porter but Andrew S. Gilbert delivers the best performance with his quiet nature.

As if teasing us, Mullet’s story is told in fragments and it takes a while for the pieces to fit together.  It’s an effective technique in making us think about each character and wonder just what they’re thinking and what they intend to do.  Australian dramas have a predictable style but I still enjoy seeing a film (especially this time of year) that doesn’t have oodles of hype and millions of dollars worth of special effects.  It’s a touching story so just forget American blockbusters for a brief moment and take the time to see a film worth seeing.

Details

Written by Matthew Toomey

Created: 21 June 2001

Shrek is naturally upset and goes to Farquaad with a talking donkey (Murphy) who makes him a deal.  Farquaad wants to be a king and the only way he can become one is by marrying a princess.  Guided by the magic mirror, he chooses Princess Fiona (Diaz) as his bride to be but unfortunately she’s stuck atop a tower guarded by a nasty dragon.  Farquaad has agreed that if Shrek can rescue the Princess, he will be given sole title to the forest to continue is life of solitude.

A sparkling idea, Shrek takes all our memorable fairy tale stars and creates riotous comedy.  Taking a ribbing are Snow White and The Seven Dwarves, Little Red Riding Hood, Three Blind Mice, The Three Little Pigs, and even The Gingerbread Man.  Don’t look past a really great soundtrack too.  Instead of creating a whole new series of songs sung by dancing animals (ala Disney), modern pop songs are effectively woven into the dialogue.

Whilst the jokes are very funny, the plot is a little thin and could have used more substance.  I know it’s only a kids’ flick but Toy Story 2 and Chicken Run proved that depth in the story can appeal to adults as well as children.  Regardless, it’s hard not to lie back, relax and have a good time (it’s even better with popcorn).

Proving a major threat to Pearl Harbor’s number one box-office status in America, Shrek is the family film to see this holiday.  There may not be big bombs and explosions but as they say, laughter is always the best medicine.

Details

Written by Matthew Toomey

Created: 28 June 2001

The past is then revealed.  Gabriel is an elusive terrorist and his latest scheme is something that only a screenwriter could conjure up.  Up until 1984, the government was stashing away millions earned from money laundering.  Threatened with exposure, the operation shut down but the money continued to earn interest and went from its initial $400 million to its current day $9.5 billion (that’s a 24% effective interest rate - give me a piece of that!).

Guarding the money is a high-tech computer system and Gabriel’s girlfriend, Ginger (Berry), believes she knows the man who can break into it.  Stanley has a history of “cyber crime” and has only recently been released after a two year stint in prison.  In that time, he lost custody of his daughter and has been ordered by the court to never to touch a computer again.  In a show of financial strength, Gabriel persuades Stanley to return to the business with a juicy $10 million offer.

Swordfish has promise but I constantly doubted its legitimacy.  One feels that “real life” cyber crime isn’t quite as exciting and that writer Skip Woods has tried to put a little too much colour and flair into the craft.  The scenes where Jackman sits at a computer trying to hack in are hopelessly unrealistic.  How can a man who hasn’t touched a computer in years crack the government’s highest security codes in a matter of days?  Not a comforting thought.

The ending is especially weak - a ludicrous bus chase followed by a quick resolution and a senseless twist.  It’s a shame the film ended on such a note because it was interesting for the majority (despite the flaws).

Backed by strong dialogue, Hugh Jackman deserves praise but John Travolta surprised with his dynamic performance (reminiscent of Face/Off).  Hale Berry was paid an additional $500,000 for a 5-second scene in which she bears her breasts.  The scene was totally unnecessary and I cannot understand why Berry agreed to do it (apart from the money) and why director Dominic Sena decided to include it.  I think the studio might have had the final say on this one.

The pivotal action scenes are well shot and don’t succumb to the recent trend of over editing (I particularly loved the Matrix-like explosion at the beginning).  The film deserves its MA rating - not for the violence but for the many unnecessary sexual references.  Apart from Berry’s breasts, there’s a scene in which Jackman gets a blow-job whilst hacking into a computer.  Can I ask why?

Following Pearl Harbor and Tomb Raider, it is strike three in the Hollywood action stakes of 2001.  With the class of 2000 generally regarded as the worst ever, 2001’s line-up is looking even sicker.  Do I even dare predict what’s in store for 2002?