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Reviews
Titus (1999)
Wow! Mediocre play makes for great film.
Hard to believe that what has always been considered one of Shakepeare's lesser efforts has proven to adapt to the screen quite effectively. The film is stunning to look at with many evocative images and a story that does have relevance in today's society. Julie Taymor should be proud of this her first major film. Her adaptation is clever and thought provoking. You can easily draw the parallels with imagery for Kosovo, Chechneya, Rhawanda and here at home with the Clinton administration's scorched earth methods of handling their enemies. The tit-for-tat machinations of Titus and Tamora prove that neither is a villain when we see the extremes to which their motivations are driven. While the actions that they perpetuate are vile and heinous, it is not difficult to see them as parents avenging their children. Anthony Hopkins is no less than compelling as Titus, with wonderful support from Colm Feore, Laura Fraser and Angus McFayden. Harry J. Lennix is riveting as malevolent Aaron, who exacerbates the burning hatred of Tamora by adding fuel to the fire. In the character of Aaron, Shakespeare has created a villain with no conscience towards his fellow man, his unbridled ruthlessness and sheer will to survive and destroy at any cost are unmatched and lay the groundwork for future villains, Iago (Othello) and Edmund (Lear)-his sole admirable characteristics is his love for his son. The true revelation in this film is Jessica Lange, whose screen appearances are far too infrequent or misguided. She handles the text beautifully and delivers a multi-layered performance of initial pathos and desperation to ultimately cruelty. Hopefully she will be recognized by the Academy awards for a nomination of best supporting actress. A word to the wise if invited to a banquet at Titus's - stick to the salad! The only drawback to this film is the performance of Alan Cumming as Saturninus. His campy over the top scenery chewing, grates like nails on a chalkboard. Hopefully, this performance will open people's eyes to the fact that he is not the emperor but the emperor's new clothes. For the past two years, all the word about his has been how incredible he is- alas he fall short and vehicle after vehicle he still reminds me of the Scotch equivalent of Pee Wee Herman without the tongue-in-cheek humor. With those Liza Minnelli eyelashes, I thought for sure he played her role on in Cabaret on Broadway. Please somebody -the hook -Now.
The Talented Mr. Ripley (1999)
Save a few dollars and rent Purple Noon
This is one of the films; I eagerly awaited this year based upon the excellent first version of this story "Purple Noon". I had my misgivings when I saw the cast, particularly Gwyneth Paltrow and Matt Damon. Her gopher grin and lack of depth manages to cast a pall on anything she is in. How she one the Academy Award over the brilliance of Fernando Montenegro, illustrates that money and hype will always win out over artistry. She is a spoiled rich girl with an extremely narrow emotional range. The roles that are bought for her require the fullness and variety of an orchestra, unfortunately her register is that of a violin's A-string. Matt Damon reminds me of John Tesh with the somewhat blonde Frankenstein appearance. His level of depth runs the gamut of a goofball smile or a pouting sneer. I would have preferred someone who can act like Henry Thomas or Robert Sean Leonard. They would have been able to provide this intriguing character with the multiple layers of emotion needed. What else can I say but that the movie was a let down. The only thing that is worth recommending is the cinematography and the supporting performances of Messers. Law and Hoffman. Do yourself a favor and rent "Purple Noon", which is infinitely better and has an one of the best endings this side of "Chinatown." Alain Deloin as Tom Ripley exudes charisma that Matt Damon can only dream of possessing. I have a feeling this film will be like Mr. Minghella other effort, "The English Patient"-all window dressing and no substance. This film has great atmosphere, but fairly sophomoric performances from it two extremely overrated leads.
The Island of Dr. Moreau (1996)
Has Brando replaced June Allyson for Depends Undergarments?
This film is proof positive of what a mediocre actor Marlon Brando is. This movie defies description. It is like the Mardi Gras with Marlon camping it up in diapers, a mumu and kabuki make-up. The scene where he plays the piano with one of his creatures is something out of John Waters. My favorite scene is when he sits with a bucket on his head while his daughter fills it with ice. I'm sure the director hope that the chill my startle a performance out of him. Brando is an actor who has given a handful of extraordinary performances due in most part to the fine writing that he was given. When one looks at his career it is loaded with bombs in which he sleepwalks through. It is easy to see why he is so admired by the current generation of actor's his lazy, undisciplined and self-indulgent behavior is the same traits that many of them have adopted. One must go back and look at Spencer Tracey, James Stewart and Barbara Stanwyck to see actors whose work was a craft whose professionalism and dedication is apparent in all the performances. Val Kilmer is execrable. And John Frankenheimer should have never put his name to this debacle. It's an embarrassment across the board. Shame. Shame.
A Streetcar Named Desire (1995)
Only diehard Jessica Lange fans need to watch this
If you are a major fan of Jessica Lange then I would rent this, otherwise stay away! While Ms. Lange's portrayal is interesting, I'm not sure it is the Blanche, that Tennessee Williams envisioned. At times her slyness distorts the character of Blanche's and gives her the appearance of being nothing more than a manipulative, self-centered woman. Blanche is a woman holding onto her sanity by the skin of her delicate fingernails. Her lies and illusions are her retreat from the cold reality of life and the bad hands of cards she has been dealt. "Streetcar" is a series of encounters between the Kowalski world and the Blanche DuBois world. Each of these encounters will intensify with each subsequent meeting. The conflict is between the oversensitive aristocratic world of Blanche and the brutal, realistic, present-day world represented by Stanley. But as an afternote, it should be added that Stanley is the type of person who likes his "cards on the table." He doesn't go in for subtleties and deception that Blanche has created to survive. As for the rest of the cast, ugh. Diane Lane is adequate at best, she can read lines but she's nothing to telegram home about. John Goodman is all wrong with to start with and he only gets worse as the film goes on. At times I felt like I was watching one of the "dramatic" episodes of Roseanne, which were always self-serving and preachy. I've seen better acting in high schools. This leaves Alec Baldwin who can be summed up with one word - why? His acting is so pedestrian; it's amazing he even works. He is horrible in this production; I now can understand why his performance in this role on Broadway elicited belly laughs. The audience wasn't laughing with him they were laughing at him. He preens and over-emotes, uses an accent (? Strange yet geographically untraceable) then changes it mid-sentnce. One of the most challenging roles in the theater due to its predecessor and the demand of acting with the fullness and variety of a brash jazz band, Baldwin's register is that of a kazoo. He prisses about and poses then delivers lines as though he's reading them for the first time. At times it seemed as though Blanche wasn't physically afraid of him, but more afraid that he was going to go into her trunk and start parading around the apartment in her wardrobe and "tributes from an admirer". If anyone doubts his abilities, this performance will confirm all your suspicions. Save for Ms. Lange's performance this "Streetcar" belongs on Mystery Science Theater 3000. It is almost like a work of science fiction. It is that jaw-droppingly bad. While the 1951 version certainly has superior actors, the Ann-Margaret-Treat William's "Streetcar" is a true ensemble production in which all four principals shine. This production is truer to the theme of the play of the artist (Blanche) ultimately being destroyed by realism and the harsh realities of a world that does not understand her (represented by Stanley).
The Sixth Sense (1999)
Finally a film with a script
Forget Blair Witch (people who are so scared by it have never seen THE EXORCIST or JAWS) see 6th Sense. A strong and compelling script with acting to match. This movie wasn't hyped like everything else this year and it delivers. Hopefully, the Academy will remember Haley Joel Osment and Toni Collette next spring. Their acting is far and away the best work of the year in supporting roles. Bruce Willis also shows that he is often overlooked and can deliver a compelling performance with the right script. Run don't walk to see this one.
The Poseidon Adventure (1972)
A lesson from the past
While "Poseidon" may never be known as the greatest movie of all time, it does have its merits. One need only look at the junk it unfortunately spawned (ie.ARMAGEDDON). The characters in Poseidon may seem cartoonish to some, but at least you care about them. People always say that before the ship turns over the dialogue is wretched. I think its fine -haven't you ever been to a wedding where you are seated with complete strangers - how in depth do your conversations go? Nowadays, I find that ever character appears to be auditioning for the Comedy Store -it's a constant barrage of one-liners. The strength of Poseidon is that the one-liners are left to the Rogo's (who are like Ralph and Alice Kramden on sea) and the other character play their roles straight. Poseidon is a film which, I believe has stood the test of time. If it were released today -like Star Wars it would accord itself well and perhaps teach new directors that you can have a great action flick with good acting and suspense.