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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.

Details

Written by Matthew Toomey

Created: 03 May 2001

The President of the United States is the world’s most powerful person and is one of few that could issue that command.  Think about power in general and the effect it has on people.  Everybody wants it and yet some people change and cannot cope when even the slightest pressure is placed on them.  If the world were to go to war today, George W. Bush could control the lives of four billion people and just imagine the pressure that would be placed on any decision he made.

Crimson Tide provided a worthy illustration of power, pressure and nuclear weapons.  It was fictitious of course and one would hope that the situation depicted could and would never eventuate.  Thirteen Days cannot be classed similarly because it is a true story and the key factor that makes it so entrancing to watch.

In October 1962, U.S. spy planes discovered missiles being assembled in Cuba that had been obtained from the Russians.  Cuba believed the U.S. was planning to attack.  Joining forces with Russia, they intended using the weapons to defend themselves.  The U.S. interpreted things differently.  They never had intention to invade Cuba and saw the development of weapons as a threat to their own security.

Over the next 13 days, the world was brought to a standstill and braced for World War III.  President John F. Kennedy (Greenwood) and his adviser Kenny O’Donnell (Costner) were left to make the biggest decision of their lives.  Military leaders advised the president to strike Cuba before assembly was completed but Kennedy was reluctant given that many lives would be lost and the world would see America as breaching international treaties.

I could write a book on how detailed the crisis was but someone has beaten me to it.  The film is based on a novel by Ernest May and Philip Zelikow which was compiled from eyewitness testimony and White House audio tapes.   At just over two hours, Thirteen Days captures only a brief glimpse of the conflict but still develops incredible tension.  The film is unrelenting and keeps building until the history making conclusion.

Kevin Costner gives his best performance since JFK which is ironic - perhaps Costner prefers political material.  As Kennedy himself, Bruce Greenwood is remarkable.  He plays a subdued character who is rarely upset but on the cusp of losing control.  I’m so familiar with Greenwood playing the “bad guy” (as in Rules of Engagement, Double Jeopardy and The Sweet Hereafter) but here he portrays one of the most important people of the 20th Century and rises to a challenge that would be beyond other actors.

I’m a fan of political dramas if just to see the effect that power and pressure have on one’s judgment.  Bulworth, Primary Colours and The Contender are all A-worthy in my opinion and Thirteen Days continues the impressive trend.  We don’t often see what goes on behind closed doors and are accustomed to the usual clichés and statements politicians tout.  This film will shock you but I wonder just how many equally compelling stories are kept within the walls of the White House and the Pentagon?  If we only knew...

Details

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: 26 April 2001

Bill Gates falls into the above category and is the obvious inspiration for Antitrust’s Gary Winston (played by Tim Robbins).  Gary is battling his competitors in trying to become the first to develop technology with the ability to link every electronic medium in the world.

With his much publicised product launch just 42 days away, he recruits young computer genius Milo Hoffman (Phillippe) to solve the major technical glitches that continue to plague the software.  For Milo, this is a career defining opportunity and girlfriend Alice (Forlani) is equally excited by the money on offer.

After settling in for a few weeks, Milo comes to learn that something isn’t quite right about the organisation.  Every time he’s stuck in a programming jam, Gary provides a near-immediate answer to his problems.  Just where is Gary getting his information from?  He doesn’t have time to program all this language himself so are there others working for him or is he part of conspiracy that’s stealing ideas from his rivals?

Whilst it may appear targeted at a teen audience (with the casting of Phillippe and Cook), Antitrust is a sharp thriller with legitimate perspectives on the “antitrust” laws.  Milo feels the software should be free to the public given its importance and puts this question to Gary who responds by saying he’ll use the billions raised to fund future projects and make technology even better.  Is that a valid argument?  As I walked out of the cinema, I saw an advert boldly proclaiming that Westfield is donating $1,000,000 for computers in schools.  Are they doing it to further our children’s education or are they just doing it for publicity?  Just what is their motive?

Political statements aside, Antitrust also looks at the simple importance of trust - something we can all relate to.  Gary’s money and power give him a lot of friends so just who can Milo turn to when he senses something is wrong?  As fellow worker Lisa (Cook) says to Milo, “how do you let go of a secret without telling the wrong person?”  Sometimes we get it right but sometimes we get it wrong and pay the price.

Director Peter Howitt (In The Name Of The Father, Sliding Doors) has made as heightened the suspense of this edge-of-your-seat thriller thanks to some slick music from Don Davis, speedy editing from Academy Award winner Zach Staenberg (The Matrix) and dazzling sets from Doug Byggdin and Rose Marie McScherry.  The eye-catching opening credits set a high standard that is lived up to.  Ryan Phillippe shows he can carry a film and Tim Robbins again proves that he’s one of the few actors in Hollywood who can play both a good guy (as in The Shawshank Redemption) and a bad guy (as in Arlington Road) really well.

The catchphrase reiterated throughout the film is that “a good chess player always knows his opponents moves before he makes them”.  It’s kind of the same way I look at films - I like it when the film knows what I’m expecting and then surprises by taking a different direction.  Antitrust is one such film so make sure you check it out.  Don’t worry, you can “trust” me.

Details

Written by Matthew Toomey

Created: 10 May 2001

Our triumphant pair, Rick (Fraser) and Evie (Weisz), are back and this time they’re with their 8-year-old son, Alex (Boath).  When young Alex puts on a valuable Egyptian gold bracelet, he unleashes a force that threatens to destroy the planet (again).  The bracelet will guide him to a hidden pyramid where a legend known as the Scorpion King will return from the underworld and obliterate all standing in his way.  Also wanting to unlock powers of his own is Rick’s previous arch-rival, Im-Ho-Tep (Vosloo), who kidnaps Alex to ensure he gets to the temple first.

I loathed the original and this isn’t much better but do concede this film is improved by relaxing and increasing the craziness of the scenario.  There is an unrelenting and ridiculous amount of action offering little room for much else.  Dialogue is minimal and it’s only a bold music score combined with really, really, really loud sound effects that’ll keep you watching (and stop you falling asleep).  Again, this works in the film’s favour because the cast’s intended humour rarely impresses.  Fraser is too sarcastic and John Hannah’s jokes are obvious and tiring.  The only cast member with spark is Boath who’s innocence will rub off on audiences.

Special effects are becoming a feature of every film and I believe that whilst we can create effects never possible before, directors are becoming too reliant on them in thinking that great effects make a great movie.  Think of famous trilogies like Star Wars (currently screening on Showtime) and Indiana Jones.  The visual effects look primitive today but it’s the heart of the story that made those films as successful and memorable as they are today.  In ten years time, is anyone going to even remember that The Mummy Returns was made let alone what it was about?

It’s a disturbing trend.  The Mummy Returns just set a box-office record in America for the biggest 3-day opening in history.  Big studios are spending big dollars to advertise their big films to recoup the big bucks they’ve spent on big special effects.  As a mathematician, I could say that the amount of money a film will make is correlated to the cost of its visual effects.  Tell me if I’m wrong but isn’t a film supposed to be about the story?