Details

Written by Matthew Toomey

Created: 17 January 2002

It’s the simplicity of the story that gives it its realism.  Trish (Philips) and Darry (Long) are driving together across the country to visit their parents for the holidays.  They are passed on the road by a maniac driving a large van and only narrowly avoid him.  Further down the highway, they see the same van pulled over beside an old church and a hooded figure is dumping large sacks (similar to body bags) down a sewer pipe.

They instantly attempt to call the police but the mobile phone is out of power and the nearest pay phone is miles away (isn’t it always the way?).  After being passed on the road by the van again, Darry decides they must turn back and see what’s down that sewer pipe - someone could still be alive down there.  Accidentally falling down the pipe, Darry witnesses that which no man should see.  A basement filled with horrors previously unimaginable.

Left speechless and shaken by the ordeal, Trish and Darry head to the nearest town to alert the authorities and it is at this point where things really get creepy.  At a petrol station, they are warned by a mysterious telephone caller that when they hear the song “Jeepers Creepers”, they must run at all costs.  Already unsettled, Trish and Darry do not know what to make of it all.  Is this just some cruel joke or are their lives really in danger?

Gina Philips and Justin Long work really well off each other.  They argue like any brother and sister and their childish fights really annoyed me (which they’re supposed to).  Seeing Trish tell Danny not to go down the sewer pipe is a perfect example - she just never lets up.

The ending is very creative.  With most films, you can always tell the ending is coming up because the pieces have all been put together and you can just tell from the music and dialogue that it’s almost time to stretch the legs.  Not so in Jeepers Creepers.  The film ends rather sickly and abruptly - a pleasant surprise.

With little at risk financially, I guess director/writer Victor Salva (Powder) had the opportunity to take a few chances.  The teen slasher genre is abused and overworked and his efforts to “change the script” have worked successfully and I commend him for it.  I hope he continues his boldness in the sequel currently in development.  Sequels - they’re inevitable, aren’t they?

Details

Written by Matthew Toomey

Created: 10 January 2002

Allow me to elaborate on that plot.  Yulaw (Li) is an evil dude who’s travelling to other universes to kill himself.  So far he’s killed 123 of himself and each one he kills makes him even more powerful.  There remains just one more replica of himself to kill, Gabe.  There are many theories as to what will happen if the last of himself is killed.  The entire universe may implode or Yulaw may become a very powerful god.  Either way, it’s not pretty.

Sent to stop him are Roedecker (Lindo) and Evan (Statham).  They’ve been chasing him for over two years but the clock is now ticking faster than ever.  The fate of the universe rests on their shoulders.  Not to be overlooked is Gabe himself.  He too has become powerful following Yulaw’s slaying and may be the only one who can stop him.  It’s Li vs. Li in a battle of good and evil.

It’s dull.  It’s silly.  It’s stupid.  Here we go again with the fancy special effects that look like a cross between The Matrix and Crouching Tiger, Hidden Dragon.  Who really cares if Li can fly through the air really high and kick people in slow motion?  The film is little more than a vehicle for director James Wong (Final Destination) and editor James Coblentz to show off their “artistic” ability.

Having Li playing the two feature characters is an obvious difficulty in having them appear on screen simultaneously (especially during the confrontation scenes).  Those paying close attention will be annoyed by rarely seeing the two in the same scene.  Quite often, we only see a camera shot of one at a time or when both are in shot, we see a front and a back (which is obviously a body double).  Further, the quick editing masks what’s actually going on - it’s really confusing.

The One is certainly not the one in my book.  To think that in a parallel universe, this film wouldn’t have been made.  I guess there are some places better than Earth after all.

Details

Written by Matthew Toomey

Created: 17 January 2002

destiny, n.  The power that is believed to determine the course of events.

Why is it that horoscopes are published in every leading newspaper and magazine?  Easily mocked, they entice our curiosity in that perhaps our fate is, to an extent, predetermined.  In terms of love, is there one person we’re absolutely destined to be with?  Many have lost a night’s sleep trying to solve this mystery.

In a New York department store, Jonathan (Cusack) and Sara (Beckinsale) meet after they simultaneously snatch the final pair of black mittens from a counter display.  They talk, go for ice-cream, and skate together on Central Park’s Wollman Rink.  After the night of their lives, Sara reaches to give Jonathan her phone number on a small piece of paper but a sudden wind blows it from her hand and into the mist.

A strong believer in fate, Sara takes this to be a sign.  Prepared to let destiny decide, she makes Jonathan write his number on a $5 bill which she promptly uses to buy mints at a newspaper stand.  For Jonathan, she writes her name and number in a book, Love In The Time Of Cholera, and vows to sell it the following day to a used book store.  If either finds the object with their respective phone numbers, it’s surely meant to be.

Years of unsuccessful searching pass and Jonathan and Sara have finally moved on with their lives.  Both are engaged to be wed but on the verge of taking life’s ultimate commitment, memories and feelings of a single night long ago resurface.  With friend Dean (Piven), Jonathan revives his quest by searching every used book store in New York and by “chance” comes across a valuable clue - the receipt from the purchase of the mittens listing Sara’s credit card number.  Sara now lives in San Francisco but takes friend Eve (Shannon) on a spur-of-the-moment trip to New York to see if the same magic from all those years ago will reunite her with true love.

From a realism perspective, the film is difficult to swallow as the coincidences are one too many.  Chicago Sun Times’ critic Roger Ebert described it best when he said “that fate is not merely knocking on the door, it has entered with a SWAT team and is banging their heads together and administering poppers.”  Still, you can’t take a film like Serendipity too seriously.  It’s designed to give people cheerful hope in their own romantic conquests with the thought that two people can be perfect for each other.

Cult star John Cusack’s (High Fidelity) passionate personality makes him ideal for this role.  English starlet Kate Beckinsale (Pearl Harbor) makes a worthy “soul mate” but can’t match Cusack’s humour.  Jeremy Piven is one of those actors who always supports but never leads - his face will be familiar but few will know his name.  His recent credits include Black Hawk Down, Rush Hour 2, The Family Man, Kiss The Girls, Grosse Pointe Blank and Heat.  In Serendipity, Piven shares some hilariously insightful scenes with Cusack highlighted by a moment the two share together on a plane.

So, do we control our own destiny or does our destiny control us?  Haven’t you ever had one of those days where everything goes amazingly perfect or one of those days where everything goes horrendously wrong?  Could it be more than just a coincidence?  That fact that I’ll never know the answer makes it all the more fun to think about.

Details

Written by Matthew Toomey

Created: 01 January 2002

Stuck in a lift with mind guru Tony Robbins (as himself), Hal unknowingly is “dehypnotised” into seeing people’s inner rather than outer beauty. Soon after, Hal meets Rosemary Shanahan (Paltrow), a gorgeous blonde with a slim figure and great personality. Expecting a brush off, Rosemary is equally smitten but for some reason is uncomfortable with her appearance.

For Hal, things couldn’t be more perfect and this blissful romance has made him oblivious to events around him. Rosemary is actually a very large woman and despite the saying that “beauty is the eye of the beholder”, no one can understand why the usually shallow Hal is interested in a “whale” like Rosemary. A motive is soon provided when it’s revealed that Rosemary is the boss’s daughter and everyone presumes that Hal is using her to ascend the corporate ladder (especially since he just missed his recent promotion). Hal’s problems are only beginning…

Ordinarily, I would expect light-hearted toilet humour from the Farrelly brothers (Dumb And Dumber, There’s Something About Mary) but Shallow Hal has surprising depth with much to say about current relationship culture. When meeting someone, looks are everything. In today’s world, appearance has taken on a greater importance as one compares themselves with supermodels and Hollywood stars. This week’s Who Weekly flashes the headline “Half Their Size!” and lists those with “incredible shrinking bodies”.  With two out of every three marriages ending in divorce, imagine the benefits that could be reaped by seeing the ever-elusive inner beauty.

Aside from the messages, Shallow Hal makes a very good comedy - there’s plenty of fresh material to keep you laughing. A lot of good jokes were made regarding the perception of beauty and only the Farrelly brothers could have pulled this off. Both Black and Paltrow are ideally suited to their characters although Gwyneth does look a little weird in her “fat” body suit. Of the remaining cast, I was left disappointed by Joe Viterelli, who as Rosemary’s father had an annoying accent, and Rene Kirby who as Walt, is the film’s token freak character.

The concept, whilst interestingly explored in Shallow Hal, does have limits. For example, Hal still sees many people the same as they were before he was hypnotised. This doesn’t seem to make sense. Does this mean their inner beauty is the same as their outer beauty? Further, there is debate over the techniques used to show inner beauty. By using thin people to show inner beauty and fat people to show outer beauty, aren’t we just saying that fat equals ugly?

A nice way to start the year, Shallow Hal shows that comedy can sometimes be the most effective method in getting a method across.  My shallow criticisms are insignificant when looking at the bigger, deeper picture.

Details

Written by Matthew Toomey

Created: 10 January 2002

Made in 1960, the original Ocean’s Eleven was neither well received nor reviewed.  Starring Frank Sinatra, Sammy Davis, Dean Martin and Joey Bishop, the film’s production was secondary to the cast spending time wining, dining and gambling in Las Vegas.  The film was more fun for the cast than for the audience.

Knowing the troubles that plagued the 60s version, Soderbergh’s reputation is the film’s greatest asset.  For the opportunity to work with one of the world’s leading directors, the talented cast all took pay cuts.  A film with George Clooney, Brad Pitt, Matt Damon, Andy Garcia and Julia Roberts would ordinarily cost $100m in wages and would never get off the ground.  Thanks to Soderbergh, we’re seeing them all on screen at the same time.

The premise is nothing new.  Just hours after being released from a four year stint in prison, thief Danny Ocean (Clooney) is back at work.  Speaking with old friend Dusty Ryan (Pitt), the two are masterminding an impossible robbery – to rob three of the biggest casinos in Las Vegas on the same night.  Assembling a team of eleven experts, they’re all prepared to take the punt and $150m split eleven ways is an attractive lure.

If a film could be “cool” then Ocean’s Eleven is it. The actors, the locale and the plot give it a light-hearted seriousness.  Clooney and Pitt share some delicious dialogue and soak up some fantastic one-liners (many which were improvised).  Andy Garcia was the film’s best in my eyes.  As the casino owner (i.e. the “bad guy”), he doesn’t overplay the character and his simple cocky demeanour is enough to have us root for those against him.

The only part that disappoints is the impracticability of the robbery.  It seems too easy and I preferred the more indepth pre-robbery planning that we saw in The Score, released last year.  It’s too hard to believe that one could pull off much a massive robbery so simply today.  Then again, maybe I’m taking thinks a little too seriously.

Steven Soderbergh won the Academy Award last year for his direction of Traffic (he was also nominated for Erin Brockovich).  Many consider his follow up selection as slightly bizarre.  I believe it to be a great chance to unwind and escape the pressure that will follow much of his future career. Soderbergh has immaculately captured the beauty of Vegas and shot much of the film in an actual casino (the Bellagio).  I’m sure they’ll appreciate the advertising but I hope the casino’s actual security doesn’t mimic that of the film.  If so, I’m getting ten men together.  Are you in?