Details

Written by Matthew Toomey

Created: 01 March 2001

Detective Joel Campbell (Spader) tried to hunt an elusive serial killer in Los Angeles who was known to have killed 11 women, all by strangulation with piano wire.  Campbell then developed a stress related drug addiction and was forced to give up his job.

Moving to Chicago, time passes and Campbell struggles to get his life back on track with the help of a psychiatrist (Tomei).  Then, someone in his building is murdered and in the mail a photograph of the victim has been sent to him.  Soon enough, he gets a phone call from his old adversary, the serial killer himself (Reeves).  It seems the detective who replaced Campbell in L.A. was no fun to work with so the killer has moved to Chicago to have Campbell reassigned to the case.

The serial killer is going to give him a fighting chance.  Each morning, a photograph will be mailed to his residence and he will have all day to track down the person in the photo to save her life.  If not, she will be killed at 9:00pm.

The Watcher is filled with all the close shaves and chase scenes that have become standard in modern day serial killer thrillers.  This film had a troubled past with Reeves agreeing to make the film several years ago before trying to back out of the deal (maybe he read the script).  After reaching agreement with the director and the studio, Reeves agreed to complete the film if he wasn't given unnecessary publicity and thus Spader and Tomei take top billing in the film's credits and posters.

All the cast have ability but none show any ingenuity with an extremely limited screenplay.  You always know where it's going and I’m sure the life of a real serial killer isn't quite so predictable - if so, they'd be easier to catch, wouldn't they?

This is the kind of film that didn't deserve a cinematic release and the public would be best seeing it direct on video.  The film's catchline on the poster warns the audience "Don't go home alone".  It's my advice is that you won't find yourself facing this predicament if you don't go at all.

Details

Written by Matthew Toomey

Created: 22 February 2001

11-year-old Trevor McKinney (Osment) tackles Mr Simonet's challenge and comes up with an idea.  It begins simply enough - you do three huge favours for three other people and it has to be something big, something that they can't do for themselves.  Then, when they ask how they can pay you back, you tell them to pay it forward and do three huge favours for three other people.  Thus, in a short space of time, people should be doing favours for everyone all over the world.

Eugene is impressed with Trevor's suggestion but understands that it revolves entirely around the honour system and to put the idea into practice would be an impossibility - there just isn't enough faith in the world.  Soon enough though, Trevor tests his theory and one of his favours is to set up the lonely Mr Simonet with his equally lonely mother, Arlene (Hunt).  Both have been scarred by past relationships but slowly, Trevor melts the hesitation between them.  Can they find the courage from within to let go and take a chance?

Meanwhile, there is a journalist in Los Angeles named Chris Chandler (Mohr) who is involved in a car accident and is given a brand new Jaguar by a stranger in the street under the condition that he pay the favour forward.  This could be a great story.  So he starts out tracing the "movement" back to where it began...

Having read the novel by Catherine Ryan Hyde, I felt that Pay It Forward would translate into overly sentimental tripe on the big screen.  I was wrong.  The adaptation was true to the story's heart and was told in a more concise and interesting fashion.  We know that the "pay it forward" idea has been successful given that Chris is tracing it back but it's great to watch both stories concurrently.  We see the beginning and the end and we're working towards the middle.  On a side note, Eugene's character in the book is black and I am at a loss to explain why he was not so in the film.  Perhaps the filmmakers felt the racial issue would complicate things too much but I'm not sure if it was the right thing to do.

What stops Pay It Forward breaking through into a higher class is an overuse of perfect dialogue.  Arlene does not talk to her son like he's an 11-year-old and the dialogue between Eugene and Arlene is too analytical.  It may sound like a trivial point but every time I found myself sucked in by the film, a silly scene would ruin it and bring me back to reality.

Performances are all great and Haley Joel Osment's youthful enthusiasm rubs off on both Spacey and Hunt who make a believable couple.  The tension and apprehension between the two that took so much time to develop in the novel, is evident right away and it's a tribute to the talents both actors possess.

It's hard to conclude on the whole "pay it forward" idea.  In general is the world a good place, a bad place, or do we even care at all?  If someone did a huge favour for me and asked me to pay it forward, would I do it?  Would you do it?  Do we give those around us more credit or less credit than they truly deserve?  This film doesn't offer any answers, but it does raise interesting questions.  Worth thinking about.

Details

Written by Matthew Toomey

Created: 22 February 2001

William Miller (Fugit) is 15, about to graduate from high school and loves rock music.  It’s 1973 and his mother, Elaine (McDormand), is conservative yet stringent.  She started her son in school at an early age so he could reap the benefits and begin a fruitful law career.

William has other ideas and loves to combine his two passions - rock 'n' roll and writing.  He sends articles regularly to Lester Biggs (Hoffman), editor of a local music magazine, to make an impression.  Lester sees a little of himself in William and gives him the chance to attend a Black Sabbath concert if he'll write an article for the publication.

At the concert, he meets an upcoming group led by Russell Hammond (Crudup) and Jeff Bebe (Lee) known as Stillwater.  They take a liking to William and his untarnished innocence - a rock writer is supposed to be the “enemy” but in front of them is a 15-year-old kid with no experience.

Not long after, William gets a phone call - “This is Rolling Stone magazine”.  They’re also impressed with his work and over the phone, offer him a full story.  3,000 words on Stillwater and in return he gets to tour with the band for four days all expenses paid and earn $1,000 on the side.  William’s mother takes some convincing (he has to promise to call twice a day) but the man and the moment have finally met.  Over the next two weeks, William would learn more about the world of rock and roll than he ever thought possible and as the trailer accurately phrases it, "there was more to write home about than just the music".

Cameron Crowe (Jerry Maguire) has based much of the story on his own experiences as a youth and his passion for the story is evident through his direction.  All the characters are richly developed and shouldn't be quickly judged.  Kate Hudson plays a loyal fan that tours with the group (known as a “band aid”) and winds up having a relationship with Russell who also happens to have a girlfriend back home.  Russell himself is quite mysterious and as William finds, hard to pin down for an interview.  The female leads (Hudson and McDormand) do dominate though and are receiving acclaim from critics across the globe.

It’s such a great story.  As it unfolds, William becomes more and more part of the group and in the process loses his independence as a writer.  As Lester tells him, “if you’re going to be a true journalist, you cannot make friends with the rock stars.”  Back in Los Angeles, Rolling Stone is not interested in an article glorifying the band - they want gritty, behind-the-scenes details.  Can William betray the trust the band has placed in him?  Tough decisions for a 15-year-old.

There is much to appreciate in Almost Famous because of the lessons it offers.  Not only does it talk about rock music and the 1970s, it looks at celebrities, what drives them and the influences of people that surround them.  Personally, the point which struck at me most was watching William battling his ethical demons in deciding what to write and the reaction it brought from the Rolling Stone editors.  There’s another great piece of advice he receives from Lester - “be truthful and unmerciful” and you can’t go wrong.

Well I will be truthful and unmerciful.  This is a rare film where you hope the credits never roll because you always want to know more.  Intelligent humour mixed with true human emotion.

Details

Written by Matthew Toomey

Created: 15 February 2001

The ultimate traditionalist, the town's Mayor saw the new shop as an evil influence.  How dare she open a chocolaterie just in time for lent when townsfolk should be avoiding such pleasures?  Not to worry, she'll be out of business by Easter.  To make sure of it, he’s had a quiet word in the local priest's ear to ensure he preach the importance of abstinence during his sermons.

Slowly however, the residents warmed to the shop and were lured by its sweet delights.  The lady had a knack for picking everyone's favourites and sure enough, they kept coming back for more and more.  To make matters worse for the Mayor, a group of gypsies had arrived and set up camp by the river.  With the town rapidly in the midst of change, the Mayor’s given no choice but to take forceful action.  At a council meeting, he imposed everyone take a "boycott and morality" stance and not serve or talk with any gypsy forcing them away from the town.

Yet there was one lady open to these newcomers - the owner of the chocolaterie and together they became allies against the determined Mayor and his cohorts.  Will the town remain the same forever or will change sweep through it like the cold winter winds?

Based on the seductive novel by Joanne Harris and directed by Lasse Hallstrom (The Cider House Rules), Chocolat is an inherently charming film with a blend of touching drama and giggling comedy.  Having read the book, I was disappointed by the heavy alterations made for the cinematic adaptation with particular emphasis on the ending.

The cast are top-notch.  Apart from Juliette Binoche, brilliant performances were turned in from Judi Dench (as always) and Lena Olin (the wife of Hallstrom).  It's a lavish production filled with great sets, costumes, make-up and another engaging score from composer Rachel Portman.

It is a very nice film but I do not consider it amongst the best of the year.  The reason I make such a statement is that 36 hours prior to seeing Chocolat, it was nominated as one of the five best pictures of the year by the Academy of Motion Picture Arts and Sciences.  The press have been justifiably critical and their comments are true in that the Oscars have become little more than a political and marketing campaign.  An incredible $1.8m was spent on "For Your Consideration" ads for the film in Hollywood's leading publications and I guess that in the end it was worth it for Miramax Pictures which has now had a best picture nominee for nine straight years.  The film will be remembered as one of history's most suspect best picture nominees.

Not one to pass over, Chocolat is a "delicious" fable but don't arrive with high expectations.  Just a little too "sweet" for my appetite.

Details

Written by Matthew Toomey

Created: 22 February 2001

Two years pass and Carl breaks long standing barriers to become the first African-American admitted to the Navy's diving school.  Surprisingly enough, the head of the division is Billy Sunday who has taken the position as compensation for his forced retirement.  Carl goes through all the dramas associated with being black in a white man's world but his determination and vow to his father keeps him from giving in.

Without discrediting the African-American's plight for equality, I felt I'd seen this film before and it offered little new perspective.  I knew exactly what would happen and am tiring quickly of films featuring leading black actors in roles that show how the race has been discriminated against (just look at The Hurricane, Rules Of Engagement and Shaft which have all been released in the past 12 months).  I know life hasn't been easy for many but we don't live in a perfect world and many are trying to make it better.

Whilst I don't know Carl Brasher's story personally, it's had a pretty good makeover for cinematic purposes.  I am also getting annoyed with “bad guy” actors overplaying their roles – they’re too smug and too obvious.  In Men Of Honor, it was David Conrad as Commander Hanks who tries to keep Carl Brasher from realising his dreams.

I enjoyed the performances although Charlize Theron's tiny role was fruitless and confusing.  Gooding Jr and DeNiro share passionate scenes together and watching their relationship evolve is the highlight of the film.  Director George Tillman Jr (Soul Food) should also be congratulated as the film features many tense underwater scenes which can be very difficult to shoot.

Men Of Honor tries to inspire but the considerable length and tiring screenplay will distract most audiences leading up to the final courtroom scene.  He may be a great man and a great hero but you just get the feeling that 20th Century Fox is trying just a little too hard.