Details

Written by Matthew Toomey

Created: 09 November 2000

The story opens with Ryan (Prinze Jnr) and Jennifer (Forlani) bumping into each other at several points across the early years of their lives.  When the film settles, we find them at college where they develop a strong friendship but neither seems to have much luck when it comes to love.  From the opening minute it is painfully clear to the audience that the two are perfect for each other and will ultimately end up together.  Yet somehow our two stars find it necessary to draw it out for another 93 minutes.

I squirmed and squirmed trying to slink deeper and deeper into my seat, wanting to escape from the whole experience.  When you take the director of She’s All That and combine with the writer of Color Of Night, you can start saying your prayers.  It’s a love story so commercial, you’ll feel like it’s been written straight from a screenwriter’s textbook.  Rule number 1: If you’re going to tackle a genre that’s been done many times before at least try to make it different.

I never walk out of films but this is as close as I’ve gone this year.  The last half hour was spent slipping in and out of consciousness.  Boys And Girls should not be approached at any cost and is considered dangerous to your future wellbeing.

Details

Written by Matthew Toomey

Created: 26 October 2000

When Wade is released on bail and flees the country, Shaft is disgusted but knows that one day he’ll get his man.  That date comes two years later when tipped off to his arrival back into the U.S. but  after arresting him again, the judge grants bail.  Fed up with the legal system, Shaft turns in his badge, says “fuck the job” and decides to take justice into his own hands.  His primary goal is to track down Diane and get her to testify before Wade and his hitmen get there first.

The original Shaft was released in 1971 and starred Richard Roundtree, who makes a cameo in this version as Shaft’s uncle.  Having never seen the original I cannot compare but a striking feature of the 2000 version is just how many aspects reminded me of the 1970s.  Whilst it’s a modern day setting (as you can tell with references to sports stars Tiger Woods and Derek Jeter), the police station, neighbourhood and other settings all have a 70s feel as does the snazzy film score from David Arnold.

John Singleton does a great job behind the camera given his passion for the subject material.  Whilst at times a blow ‘em up action fest, the film goes much deeper with its look at discrimination of the African-American community.  Singleton’s previous films include Boyz In The Hood, Poetic Justice and Higher Learning and given his own African-American heritage, you can sure tell he knows what he’s talking about. 

A great example of this comes from the relationship between Shaft and the police chief (played by Daniel von Bargen).  I bagged The Hurricane earlier this year complaining that the detective who put Rubin Carter in jail overplayed his racial intent.  In Shaft, both men are hospitable to each other but there is an underlying subtext in their conversations that shows the chief thinks less of Shaft because of his colour.  This provides more realism and interest by not painting the boundaries so clearly. 

Christian Bale plays the villain well and I still hope he’s in line for an Oscar nomination next February for American Psycho.  The villain is always the toughest character to play and Bale gives the role depth rather than turning into a James Bond-like super villain who makes all the right moves until the very end.  He’s also assembling some great wardrobes if you check out his costumes in both this and Psycho.

One can’t overlook Samuel L. Jackson who shows he’s always picking the right roles.  Since his Oscar nominated turn in Pulp Fiction six years ago, he’s built a stunning resume including roles in A Time To Kill, Jackie Brown, The Negotiator, Rules Of Engagement and The Phantom Menace.  This is one of his best performances and few can imagine anyone else filling Shaft’s shoes.  You can also tell just how much he enjoyed making this movie.

Don't be confused in thinking Shaft is a serious drama dealing with racist segregation.  It’s loads of fun mixed with slick lines and a surprising ending.  Be careful whom you do see it with as I haven’t seen more killings nor mentions of the word “fuck” in a single film this year.  Still, Shaft is still the man.

Details

Written by Matthew Toomey

Created: 02 November 2000

Every time Norman is out, Claire hears strange creaks and noises from within the house.  At first she dispels these occurrences but when they persistently continue and an illusion starts appearing, things are getting a little scary. 

So who is this mysterious illusion and why does she inhabit their home?  I hate to give more away but if you’ve seen the trailer, you’ll already know the answer.  Why 20th Century Fox would choose to give away the key secret of the film is beyond me.  It’s like telling everybody before the movie that in Psycho, Norman Bates was impersonating his mother.

Director Robert Zemeckis compares the 20th Century Fox strategy to that of McDonalds and its success.  The reason McDonalds is so popular is that there are no surprises and people know exactly what they’re getting.  It is Zemeckis’s theory that cinema goers work in a similar vein - people like to go to a movie knowing what they’re in for (and can I add Double Jeopardy as another good example this year).  This astounds me particularly when the whole point of a thriller is to shock and surprise.

Given I knew who the apparition was, I sat impatiently through the first hour waiting for her identity to be revealed.  It seems that this wasn’t the only ghost to appear - Alfred Hitchcock appears to have risen from the grave himself to direct What Lies Beneath.  I have the utmost respect for Zemeckis in light of his last film, Contact, but his insistence on creating a Hitchcock-like film doesn’t quite result in the intended effect.  Things have changed since his era.

Music is kept to a minimum, the smallest sounds are amplified, and tricky camera angles will have you jumping from your seat more than once.  The film is quite scary but ruined by a ludicrous ending that has you questioning rather than enjoying the finale.  At film’s end, someone tries to kill someone else (that’s all I can say).  Firstly, I cannot understand why the person in question would try to kill the other.  Secondly, I cannot understand the method of killing and finally, I cannot understand how the other person escapes.  That sounds very vague I know but you’ll read them in a new light once you’ve seen the movie.

Michelle Pfeiffer is well suited to her role despite it being very different from her “norm” and it’s great to see her in action.  Harrison Ford’s role is much smaller and fans will be disappointed by his weaker showing (both in terms of time and performance).  Australian fans hoping to catch Miranda Otto can stay home as she features for not much more than a minute.

After dominating the box-office in the United States, What Lies Beneath is yet another in the ever growing list of Dreamworks blockbusters.  A film worth recommending if only we didn’t know “what lies beneath”.

Details

Written by Matthew Toomey

Created: 19 October 2000

Cliff Buxton (Neill) is the “dishmaster” at Parkes and is nervously anticipating his date with destiny.  His telescope has been selected by NASA to receive radio signals from the Apollo 11 crew and be responsible for beaming the indelible images of the moonwalk across the globe.  His crew are ready to go with the help of NASA representative Al Burnett (Warburton aka Puddy from Seinfeld) but some are apprehensive of the need for U.S. involvement.

In town, Mayor Bob McIntyre is preparing to put Parkes on the map.  The U.S. ambassador has arrived, the Prime Minister is eminent and “celebrations” are in full swing.  It’s time to show those Yanks just how it’s done.

Without giving much more away, The Dish is a charming comedy bearing strong similarities with Rob Sitch’s previous effort, The Castle.  Both stories are simplistic in nature with the focus on the people rather than the story.  These are not characters from a Hollywood blockbuster for which life and words are always perfect.  These people have more than one dimension.

Ideally, this is illustrated by Sam Neill’s character.  More is revealed of his background as the film progresses until we find that his wife passed away a year ago and it was her inspiration that reignited his enthusiasm for the project.  Instead of turning into a schmaltzy, sympathetic soap opera, the film continues and lets us do the reflecting rather than have the film do it for us.

There are many subplots created for laughs but some are distracting.  A notable example was the relationship between the Mayor’s daughter and the soldier next door.  It was a criticism of mine that The Castle took some of its jokes too far and both these characters were funny for a while but were overused and overplayed.

The film is wonderfully scored by Edmund Choi (who also worked on The Castle) and has some great cinematography by newcomer Graeme Wood.  Rob Sitch’s direction is also top notch and one can expect bigger studio’s knocking on his door in the near future.  It’s a tribute to the four collaborators (Sitch, Jane Kennedy, Santo Cilauro and Tom Gleisner) that they have come up with such rich stories given the current drought that’s plaguing the U.S. (and me thinks that drought will continue).

What an unbelievable year it has been for Australian films and The Dish will carry the tradition.  Highly acclaimed last month at the Toronto Film Festival, it looks set for international success - something which eluded The Castle.

I’ve seen the footage of Neil Armstrong taking his first step on the moon and echoing those famous words a thousand times previous.  This time is was different.  This time I saw it was about more than man’s conquest of the universe.   The telescope is still in a sheep paddock in Parkes and the moon is still looking at us from above but both played a part in created memories and stories that will be told as long as time permits.  This is one of those stories.

Details

Written by Matthew Toomey

Created: 02 November 2000

Billy’s mother passed away last year and at age 11 he lives with his older brother Tony (Draven) and his dad (Lewis), both coal miners in a small Northern Ireland town.  The community is at boiling point with the miners on an enduring strike demanding better pay and the companies are refusing to concede to their demands.

Billy is given 50 pence each week by dad for boxing lessons but when he see the girls being taught ballet in the same hall, something inside tells him it’s more his style.  The ballet instructor, Mrs. Wilkinson (Walters), sees talent in Billy and persuades him to get serious so that he can audition for a spot at the Royal Ballet School in London.  Initially, Billy is doubtful, thinking that all male ballet dancers are “poofs” but the creative flair he has within is just waiting to burst out - he yearns to dance.  However, when his father and brother get word of the lessons, they’re determination to put a stop to it will be just one of many hurdles Billy will have to cross.

I have described Billy Elliot as apt I could but I cannot express the feeling and sentiment that any audience member will appreciate.  I was engrossed from opening to close and it was impossible not to get caught in Billy’s emotional story with its laughter, surprises, suspense and tears.

Director Stephen Daldry is a newcomer to filmmaking but is backed but a strong career in the theatre - his style is different.  During many of the film’s pivotal scenes, several stories are tied in by being shown at once, during the same song, with the camera crossing back and forth quickly between the stories.  He also uses well-crafted camera angles and subtly shows other characters in the background when focusing on one individual.

Lee Hall’s screenplay is also exceptional.  It revolves around the miners’ strike that actually did happen in 1984 and to which Hall was a witness.  Yet amongst all the bitterness it caused between families and in the community, he manages to craft a beautiful story between a boy and his father.  They share a scene on a fence near the film’s end that epitomises this beauty but the triumphant scene came when Billy danced in front of his father in the boxing hall to the music of composer Stephen Warbeck. 

It’s the little things that make the screenplay so rewarding.  The moment where Mrs. Wilkinson reads the letter from Billy’s mom.  The moment where Billy kisses Michael on the cheek and simply says “I’ll see you then”.  The moment where Billy and his father argue about the merits of ballet.  The moment Tony and his dad share at the mine when he crosses the picket line.  The moment when Billy asks “Miss, you don’t fancy me do you?”  The moment when Billy describes what it feels like when he’s dancing.  The moment where Billy opens the envelope from the Royal Ballet School.  Every scene as special as the next and will be long treasured.

The finale is a masterpiece in itself.  As Billy heads away, we see his father and brother going down the mine, Mrs. Wilkinson alone in the boxing hall and Billy alone on the bus.  All their lives have been touched by Billy’s electricity but now they return to the drone that is their lives – it’s the most moving part of the film.  In showing Billy at age 25 and then crossing to flashes of Billy jumping on his bed at age 11, we see just how far Billy has come.  He was once just a small boy with a big dream…

13-year old Jamie Bell plays Billy Elliot in a performance that will have you breathless.  Beating out over 2,000 others for the role, Jamie’s first film will be remembered for his refreshing innocence and his bashful smile.  Jamie has striking similarities with Billy in that he has been dancing since the age of 6 and hidden the talent from even his closest friends.  Since the film’s release, Jamie has been heckled by many for a kissing scene with another boy and had to hire bodyguards as a result.  It makes you wonder why people are insecure enough to focus on such an insignificant detail.  I’m sure they’re the same people who bag guys for getting into ballet and who provided the motivation for Billy Elliot in the first place.  Can a 13-year-old take home the best actor Oscar?  This is as good a chance as any.  The brilliant Julie Walters and Gary Lewis can also star preparing themselves for several acceptance speeches in the new year.

It is ironic that whilst not a film based on a true story, this is a true story based on a film in that Jamie’s life has many parallels with the screenplay.  It’s in a class of it’s own - a feel-good rollercoaster that words will never describe.  It’s “once in a lifetime” films like Billy Elliot that inspire people, including myself, to make the most of one’s life.  A flawless masterpiece.