Nahret Reviews

Two Weeks Notice (2002)

Your Usual Romcom. 6 of 10.

[6/10 · 19 January 2003]

Sandra Bullock has a talent for romantic comedies akin to that of Meg Ryan. This is, thus, standard fare, well scripted and acted.

This time around, Ms. Bullock on screen persona is Lucy Kelson, a lawyer with a conscience. Already a left-wing advocate at age five, now as grown woman she dedicates her time to community work and protests against the big bad world of capitalism. One of the prime representatives of that world is Mr. George Wade, played by Hugh Grant as an amalgam of Four Weddings' stuttering Charlie and About A Boy's heel, Will. George Wade happens to be looking for a chief counsel when he meets Lucy, who in turn wants to convince him to save a community centre in her neighbourhood. A deal is struck and Lucy starts working for George. More than that of a lawyer though, the position turns out to be that of a 24 hours nanny. It's only when Lucy calls it quits and even finds someone to replace her that they both realise they've long fallen in love with each other...

The story unfolds in a predictable pattern. Even so, what's supposed to be funny is funny and what we know is going to be soppy is bearably so. A fine film for light entertainment or just to get a fuzzy feeling in the middle.

Maid in Manhattan (2002)

Predictably Sweet. 6 of 10.

[6/10 · 19 January 2003]

Jennifer Lopez' latest film is a Cinderella remake. Marisa Ventura is a single mother who works as a maid in a prestigious Manhattan hotel. Through a misunderstanding she meets Ralph Fiennes' Chris Marshall, a congressman. He falls for her, she for him, they have the ball and dancing the fairytale requires, as well as the crushing moment when Marisa's true identity is uncovered.

An important part of the story is Marisa's son, Ty. There are obvious sentimental traps a production can fall into when there's a child involved in the plot, but this film knows to avoid them. The same is true for the all-important Happy Ending: sweet, predictable, but not kitsch. Special mention must also go to Bob Hoskins, whose small role lends an unsuspected depth to his scenes. All in all, an enjoyable movie for a care-free evening.

Dungeons & Dragons (2000)

Oh, dear. 1/10

[1/10 · 17 November 2002]

There's not much to be said about the plot of this movie, since there isn't one. Maybe it made sense to those who are familiar with the RPG, but to the uninitiated, it is never explained why any of the people do what they do. But on to the real horror.

It has been quite a while that I have been so severely shocked by acting this bad. It's not even an individual achievement, oh no, it is a collective effort of the entire cast (except the dragons, maybe). On the face of Thora Birch, whom I admire for her work in American Beauty, I registered a total of two different expressions throughout the film. Her impact was such that she might just as well not have been there.

Justin Whalin earned himself the number one position in my list of Worst Actors of All Times, beating even Chris O'Donnell to that position, and it should be said that this is the first time I ever saw him. Talk about a first impression. I cannot even put an adjective to his acting, as most of the time I found myself staring at the guy in shock. His presence must have rubbed off on Jeremy Irons, who really has no excuse for his participation in this disaster.

Was he trying to have his last name changed to "Irony"? Unless he was being so ridiculously over the top on purpose, I cannot imagine what must have possessed him to act the way he did. Even the villains in the 60's Batman show were more subtle in their facial expression!

The film gets one point for its dragons, though. Nice fire-breathing, fine acting ability despite the horrible script (they really had no lines, did they), and charming demonstrations of athletic prowess.

By the way, if anyone would care to enlighten me as to what happened to the "heroes" in the graveyard in the end (things like this always end on graveyards), feel free. I really didn't get it. Which, of course, only deepens my resentment at having squandered two hours of my life on this abomination.

Red Dragon (2002)

... or the one that gave Hannibal back to us. 8/10.

[8/10 · 3 October 2002]

As the tag line suggests, to understand evil, you have to go back to the beginning. This is, thus, the beginning; we see Hannibal as he was in liberty, serving culinary delights to his sophisticated guest. And after that, of course, there he is, freshly incarcerated, reduced to nine square meters and to suffering fools such as Chilton. But essentially, this is not a film about Hannibal Lecter, and that's probably what makes it work (as opposed to Ridley Scott's "Hannibal"). The same as "Silence..." was about Starling's quest, "Red Dragon" essentially focuses on Will Graham, the FBI agent who put Lecter away, and who now is taken out of retirement in order to find a new serial killer, the "Tooth Fairy". Hannibal may be the best secondary character ever, but his appeal lies in his interaction with the main characters; in this case Graham and Dolarhyde.

The story line is solid and develops in a straight-forward manner. Rather than create a work of art, the makers of this movie relied on what could be called the craft of film-making: a good story is here populated by believable, fleshed-out characters. While the personality of Graham is naturally explored to satisfaction, much screen time is also given to Francis Dolarhyde and his inner struggle, which is mesmerising to behold.

The crime scenes are harsh, but not gratuitously gory. More than cheap shock effects, they contribute to the atmosphere of terror that permeates this movie - as it did "Silence".

The cast of showbiz heavy weights is not just impressive, it is, forgive the superlative, perfect. Apart from a brilliant Norton, Hopkins and Fiennes, Emma Watson's performance in a pivotal role is incredibly accomplished.

All things considered, this film is a worthy successor (or predecessor?) of "Silence of the Lambs". And almost makes us forget about "Hannibal".

Monsoon Wedding (2001)

Bollywood Splendour with Mira Nair's Touch. 8 of 10.

[10/10 · 8 July 2002]

As the director often emphasises, this film is a work of love. We feel her love for the Bollywood film, for her characters, for India, in every scene. True to tradition, this movie has all the components of the genre: comedy, drama, family traditions and conflicts, song and dance, and, obviously, love.

Events revolve around the title wedding, which will be celebrated dangerously close to the monsoon season, and feature the not so blushing bride, who still has a thing for a married man (this is MODERN India, you know), the arranged husband, both their very extensive families, as well as the touching story between the guy who does wedding decorations and catering for a living without ever getting married himself, and one of the servant girls of the house. Things start to complicate themselves as the rains begin and the bride elopes to have a late night tryst with her lover, where they get into a spot of trouble with the police. Also, the family members living in India clash with those living in more "relaxed" environments (such as Australia and the States) over the mandates of tradition, while the father of the bride despairs of the slowness with which the work of the wedding-planner and his associates progresses.

As difficult as things may seem, though, everything turns out well. Mira Nair handles her large cast with affection and insight, and is not afraid of touching a very delicate and taboo-fraught issue on the way with just the right measure of drama. You'll laugh, you'll cry, and you'll realise that Bollywood shows you life as it should be: a celebration, even when it's raining.

The Virgin Suicides (1999)

So beautiful, it breaks your heart. 9 of 10.

[9/10 · 8 July 2002]

Since I had read the book and still remembered the feeling of desolation it left me with for weeks, I was very reluctant to see this film. But then, I thought, can any movie ever mirror the deep emotions the book holds, and translate them truthfully into images? In this case, the answer is: yes.

The atmosphere is artfully set from the very beginning; a heartbreaking sense of mystery shrouds the Lisbon household in silence and elevates the girls to neighbourhood Virgin Marys. To the boys who speculate and dream about them, they are angels, not quite human. And this is what they become to the viewer, too; idolised creatures of light, since we only ever get to know them through the eyes of those teenage boys. And this is what makes both the novel and the perfect film adaptation so memorable, so beautiful and so sad; we never learn what finally pushed them so far as to end their lives, all in one single night (except Cecilia, who "has gone before", as Poe would have said). We never see their perspective, never hear their thoughts, and thus they retain their mystery and die the saintly death of martyrs.

The film is brilliantly handled, with impressive colours and music. The actors put in high quality performances in giving life to incredibly complex characters. Kirsten Dunst deserves a special mention for her portrayal of the most visible Lisbon sister, Lux, with which she stands head and shoulders above an already formidable cast. This is a rare gem of a film, a timeless story on the beauty in the eye of the beholder. Never since Romeo and Juliet has death seemed such a tragedy.

Love Scenes from Planet Earth (1998)

Charming comedy about urban mating adventures. 7 of 10.

[7/10 · 8 July 2002]

***SPOILERS*** ***SPOILERS*** The 90'ies brought about a revival of the German comedy, especially the variation that deals with the misfortunes of the love- and mostly sex-lives of the inhabitants of the urban jungle. In a Short Cuts like manner, it introduces us to a girl who babysits her neighbour?s daughter, whose father is a penniless writer on the verge of either fame or breakdown, and who, later on, will come across a would-be femme fatale and her timid friend, whose teenage son is undertaking first sexual steps with his girlfriend. The aforementioned babysitter gets an invitation to a gym, where a gay man decides to make her his date for a salsa party, organised by a handsome guy who had come by the gym earlier, and so she (the babysitter) gives the girl to a friend of hers, who will then happen across the mother of that child. Meanwhile, the mother's flat-mate decides to kill herself because her cheating b**tard of a boyfriend forgot about her birthday and meets an Italian on the roof who wants to kill himself because of his cheating b*tch of a girlfriend. Of course, they fall in love right as they are hanging from her balcony, several meters off the ground. No summary can do justice to the many plot convolutions of this film, which are very entertaining. Did I mention that all of this happens on the day the Pope visits the city?

The Ninth Gate (1999)

Not easily understood. 8 of 10.

[8/10 · 8 July 2002]

There is something beautifully refreshing about movies where you actually have to think while you watch. And to be honest, the ending takes so much figuring out, that the more people you ask, the more opinions you'll get.

The mood for the film is set right from the start. We first meet our hero, Dean Corso, an antique books dealer, as he swindles a hapless couples out of a priceless first edition of Cervantes' Don Quixote. Mr. Polanski is taking a bit of a chance by presenting his protagonist as a rather reprehensible creature, who's clearly in it for he money. But this portrayal is necessary, as it is important to understand that Corso does not believe in the supernatural in any way, nor is he especially fond of books. Again, it's all for the cash.

The ever evil Frank Langella may at first be mistaken for Satan himself. But his character, the driving force behind Corso's quest, and a dangerous man to displease, is merely a devout disciple, and, as such, a firm believer, thus representing the other end of the spectrum.

Minor spoilers.

In spite of our initial misgivings, our empathy with Johnny Depp's character is established after about the second time someone tries to kill him. It won't be the last time, either, so luckily he is assigned a guardian angel, who might also be something else. And he's not the only one in danger; as Corso progresses on his quest to secure the copies of the fabled book, the people who own them, die. Those deaths (did he have a hand in them?), the ever deepening mystery and his beautiful angel, work the necessary transformation. Having forgotten about the money, Corso now carries on out of his very own... curiosity? Obsession? He has long been turned into a believer when he undertakes a final journey.

Looking for the Devil, it seems, is like looking into the abyss; He might also be looking for you.

A Simple Plan (1998)

Downward Spiral with overly moralizing ending. 6 of 10.

[6/10 · 8 July 2002]

Some spoilers.

A Simple Plan is a study of what ordinary people are willing to do for an immense amount of money and also of just how badly things can go out of hand. Our mothers have told us early on how one lie inevitably leads to another and that, sooner or later, something or someone is going to crack. Of course, any plan is only as good as its weakest link, and while the main protagonist and, ultimately, the only survivor, seems stable enough, his dim-witted brother and his best friend (who has a serious gambling habit) are obvious sources of trouble from the start. Therefore, as greed and a lack of intelligence combine with the local police investigation and the other pilot of that crashed plane, things rapidly go downhill and people start getting killed. While the atmosphere of the movie is powerful at all times, the fatalism of the protagonist is not always believable. Had the writers opted for a more brave ending, I could have given this nine out of ten points; I'll leave it at six now because said ending is an overly obvious rephrasing of the "crime never pays" motto. Apart from the fact that thousands of big shot crime lords the world over prove this to be wrong, the resolution is also not very clever, as the so-called obstacle is easy enough to avoid. All in all, good set-up, disappointing ending.

Sister Act 2: Back in the Habit (1993)

Joyful, joyful. 6 of 10.

[6/10 · 8 July 2002]

And there goes Whoopi again! This movie is pure joy. The nuns we've come to love are back in the 'hood, so to speak. Again, I don't care about the lack of originality or plot coherence. It's the songs, it's the joie de vivre inherent in Whoopi and company. See it, sing along, feel good. That's it.

Malice (1993)

Unnerving. 7 of 10.

[7/10 · 8 July 2002]

Another movie that depicts the pure brilliance of Nicole Kidman. Her multifaceted portrayal steals the show. But on with the action.

Some spoilers.

This is probably the first time ever that a serial killer is used only to further the main plot, which turns out to be something else entirely. The story starts out easy enough: a happy couple, Tracy and Andy, live in a nice little town, where he's a college dean and she is a kindergarten teacher. She adores children and is being treated with oestrogen to increase the chances of getting pregnant. He loves her and dotes on her. So far, so good.

Then one day he meets an old school friend, who in the mean time has become a very successful surgeon. Since Jed is new in town, he is offered hospitality by his old friend. Of course, we guess immediately that there's something fishy about him. Inevitably, one day disaster strikes: Tracy is rushed to emergency room because of severe abdominal pain. Jed finds he has to remove her ovaries, thus also terminating a first trimester pregnancy.

Later it turns out that Jed made an error in judgment; one of Tracy's ovaries could have been saved. She receives an important amount money out of her malpractice suit, but what good does it do if she can never have children? She is bitter, her relationship to Andy takes irrepairable damage and she leaves him. Jed obviously has to move out. End of story?

Far from it. Since there is no such thing as a perfect crime, details that do not easily fall into place nag at Andy. Helped along by a rather surprising revelation courtesy of the local police, he follows the voice of his doubts and finds out more than he probably ever wanted to know.

The final twist is both cute (for its implausibility) and chilling, since it shows just how far people are willing to go in order to obtain, and keep, what they regard as happiness.

Sister Act (1992)

Triumph Oh Ye Cherubim! 7 of 10.

[7/10 · 8 July 2002]

This is not the best movie of all times. But it is one of my very favourite ones. Every time I see this movie, I want to join that convent. And I'm not even a christian. Okay, so the plot is not too credible. And neither are the characters. So the story is predictable. So what? This does what a feel-good movie is supposed to do: it makes you feel good. It makes you believe that everything will turn out fine, that true friendship conquers all and that we'll all end up as rejoicing seraphim. Of course, it also has two of my favourite actresses: Whoopi Goldberg and Maggie Smith, on opposite sides of the table. Whatever they touch turns to gold. Or at least, gold-plated. This film is just a lot of fun, no higher aspirations, no deeper meaning. Just an enjoyable afternoon, which will leave little of its story-line in your head, but most of its songs. Which is also a good thing.

Moulin Rouge! (2001)

Breathtaking. 10 of 10.

[10/10 · 5 July 2002]

There are movies that are so good, they leave you speechless. With his unique perception of film making, Baz Luhrman makes you laugh and cry at almost the same time, and both will be genuine. This Spectacular, Spectacular movie is unlike anything I have ever experienced in a theater. It is an overwhelming, frantic, loud, deep and touching celebration of the Bohemian ideals: Truth, Beauty, Freedom, and, of course, most of all, Love. The approach to the story is distinctly Luhrman, who absolutely forbids us to forget that this is a movie (as in "not real"), but who, at the same time, makes it impossible for us not to feel for his characters. This is accomplished on one hand because he tells us a story that, for all its sparkling surface, its garish colours and its hectic movement, is still a real story, with people in it that are so well drawn that they come alive. On the other hand, of course, the merit goes to the brilliant actors, one and all, who give breath and heart to their characters. Ewan MacGregor and, above all, Nicole Kidman, the Sparkling Diamond, draw us in and make us love them and love and suffer with them, to the very end. In 2001, a good year for movies in general, this one is the best and most daring of all.

Monsters, Inc. (2001)

Aaah! Real Monsters!

[9/10 · 5 July 2002]

Hooray! A new Pixar! And it's a scream. Literally. You see, there ARE monsters living in our closets. Well, not precisely living there, but they do come through the closet door to collect children's screams which they need to power their city, Monstropolis. Of course, little kids are also said to be highly toxic to monsters, so those are just as afraid of children as vice versa. Imagine the panic when it transpires that one of those disease-carrying creatures is loose in Monstropolis. Aahh!

After Shrek upped the ante in CGI technology, Disney and Pixar could not well sit back and let Dreamworks have the first Animated Oscar without a fight. As a result, they surpassed everybody's expectations - and Shrek - by a long shot. The got the wake-up call in time, and - even if the Academy Awards tell us otherwise - this round goes to Disney. Much of the success of this movie is, of course, the merit of the voice cast. Like Billy Crystal came to realise, Mike Wazowski may be green, bald and not even have a profile, but he clearly walks like Crystal, talks like Crystal, IS Crystal. Sulley is a very lovable monster and hero (he's welcome in my closet any time), while Boo is just adorable. And then there's Steve Buscemi's evil slimy rotten villain of a lizard... In short, this is not only animated feature at its best, this is a well conceived film with a solid story and well fleshed-out characters. On top of that, the people at Pixar chose to go the extra mile in giving us a couple of hilarious take-outs after the credits. You can't possibly ask for more.

Along Came a Spider (2001)

Underrated. 7 of 10.

[7/10 · 5 July 2002]

The plot starts out in a very straight-forward manner: a man with an ambition to become criminal legend kidnaps the daughter of a congressman right out from under the nose of the FBI. He then sends a note and a sneaker of the girl to Detective Alex Cross, hence forcing him out of his self-inflicted isolation, the reasons of which are explained in the opening scene. Along with the FBI agent who was in charge of security at the scene of the crime, he follows the clues laid out by the kidnapper in order to find the girl. And so the story goes.

The kidnapper is portrayed by the always formidable Michael Wincott, the best serial villain on that side of the Atlantic. He should have the Best Supporting Role awards piled up in his attic. Alex Cross, whom we remember from "Kiss the Girls", and portrayed by Morgan Freeman, is just the kind of cop you like best: sincere, sympathetic, intelligent, thorough and committed. Monica Potter features as the FBI agent determined to redeem herself after she let the kidnapper escape.

This may not be a blockbuster, but this solid and underrated thriller delivers what so few of them have to offer these days: a final plot twist that genuinely surprises. It shall not be revealed here.

Sleepy Hollow (1999)

It's a headless horseman! I saw him! 9 of 10.

[9/10 · 5 July 2002]

This is the movie that shows why Tim Burton is the master of the Gothic horror genre. He gives a classic story a new make-up and creates a wonderful atmosphere by adding to the fantastic set all the right colours, textures and music. His attention to detail and ritual make this a magical experience, a dark fairy tale. The cast are all superb, but it is Burton's screen alter ego, Johnny Depp, whose mesmerizing presence steals every scene. Let's admit it, the back of his hand is more expressive than some other actors' faces. His Ichabod Crane is not only endearing and intelligent, he is also involuntarily funny much of the time. And it is this sense of humour that lifts this movie above even the good ones of the genre. The moment when Crane finally meets the Headless Horseman face to... er... missing head, and faints, and afterwards, when he regains consciousness and tries to convince everybody of the existence of the demon - that's just pure brilliance. This is Tim Burton at his best, with a film that firmly belongs in my Top Ten.

Spider-Man (2002)

It rocks!

[9/10 · 29 April 2002]

Pardon my language, but it does rock. It rules. It's beyond what I had imagined. After seeing a movie that fulfills almost impossible expectations, a little teenage language can be forgiven, I think. Let's not forget that Spidy is a hero with a cult following, so, naturally, there will always be those who see sacrilege in the few (good! necessary! favourable!) changes the creators of the movie made with respect to the original comic. To those: Come off it! This is a great film; it has the perfect balance of action, drama, laughs and the mandatory romantic element. And, of course, in this kind of event cinema, everything hinges on the right choice of a leading man, and in this aspect, Tobey Maguire is absolutely perfect (am I overusing this word?) as the slightly nerdish Peter Parker. As Auntie May rightly points out, Spiderman is not Superman; Peter's process of discovering and learning to control his powers are among the most hilarious scenes in the film (that spider web thing isn't as easy as it looks). Kirsten Dunst is as lovely as always, and Willem Dafoe would make a good Goblin even without the mask on. Speaking of the villain, not only are we given one whose motivations are understandable, but being who he is, he even opens the door to the sequel.

All I can say, if the rest of the movie summer comes on as strong as this film, then we're in for a memorable year indeed. Not to mention the possibility of multiple sequels. 9 out of 10.

Monster's Ball (2001)

Incredible emotional ride without cheap drama.

[9/10 · 28 April 2002]

Some spoilers.

If this were the usual Hollywood production, then this film would revolve around one central point: if, when and how Leticia Musgrove (Halle Berry) finds out that Hank Grotowski (Billy Bob Thornton) was the man who strapped her husband to the electric chair. Instead, this movie handles this question in a surprisingly mature way, avoiding cheap drama in favour of sticking to the characters and their needs. I was very impressed by the final development of the movie in that aspect. I have heard some people complain about the 180 degree change of Hank Grotowski in the short amount of time elapsed in the film; those people were clearly not paying attention. The journey, so to speak, from racist to human being is considerably shorter than what some might believe. This is made obvious from the beginning, when Hank uses the rifle to scare the black kids away, and afterwards in the confrontation with their father: He acts as an automaton, remote-controlled by his father, repeating over and over the same line because he does not only have no real arguments, he doesn't have the necessary deep-seated hatred, either. The scene in the prison bathroom on the other hand is just redirected anger at what he perceives as the weakest link in that environment.

On a similar note, and considering the stellar performance of Halle Berry, it is insulting to imply that Leticia gets over the death of both her husband and her son in too short a time. Halle's portrayal of Leticia makes the underlying fragility and open wounds palpable at all times.

One of the strongest scenes goes to Heath Ledger, though. All by himself, in the prison's bathroom, his face shows the whole plethora of emotions that runs through Sonny in this instant. A great acting achievement.

Last but not least, there's the argument about the film's authenticity. And, frankly, I don?t care whether this movie reflects reality in the southern US of A. What makes a story true is not its connection to The World As We Know It, but its capacity to create a reality that holds up under scrutiny in its own universe, with characters who belong to and interact in a coherent and engaging way with that environment. Monster's Ball is all that; its emotional impact would have been no less had it been set on Mars, in the year 1600. So get over it.

Gosford Park (2001)

Another masterpiece from the master of multiple layers.

[9/10 · 28 April 2002]

With trademark meandering storytelling and attention to minute detail, Robert Altman presents us his latest oeuvre. We are in the English countryside, it is the year 1932, and guests are invited to join a hunting party. A very English pastime, at which the host is completely inept, half the guest are no better than him and the rest finds it either boring or distasteful. For the first two hours, thus, we are treated to the most intriguing social study, since we are given the gift of multiple characters of astonishing substance (considering that other directors cannot even develop their leads beyond the one-dimensional) and a double view from both the gentry upstairs, and (mostly, and more insightfully) the servants, downstairs.

And just when we are content to enjoy no more than said social study, the simmering tensions quite unexpectedly do come to a head. It is then that we finally get the murder we remember from the trailer, at which point the film gains astonishing momentum. Not only do we learn how mid-20th Century rural Police work (or not), but all remaining story threads are resolved to perfection. This includes hints to stories that are just about to begin - which proves that the best kind of movie does not end with the credits, but continues in the minds of the audience. Stories are about people, you see.

Arlington Road (1999)

Good thriller with astonishing ending.

[7/10 · 16 April 2002]

Some spoilers.

Let's be honest here: you didn't guess the final twist, either. Mainly, because you just don't see it coming until it's too late - a bit like the movie's protagonist. The whole impression of a film depends on how it ends, and the way everything falls into place in this one is pure diabolical delight.

Joan Cusack's surprisingly subtle portrayal of the apparently ordinary housewife with an edge is perfect and lends the film its particular atmosphere: apart from the few moments of obvious violence, it lives from the general feeling of something evil beneath a surface of normalcy. You may be able to eventually put your finger on what it is you find disturbing. But, you know, you can't prove anything...

The Rocky Horror Picture Show (1975)

Aahhh...

[10/10 · 16 April 2002]

There are a chosen few movies that defy description and split people into two uncompromising factions: those who absolutely love them and those who hate them with equal passion. This is one of these pictures, and, consequently, I have no other choice than to give it ten out of ten. The profound impression it made on me was largely due, of course, to my first love (at the age of five): Frank-N-Furter. Ah... Tim Curry. As Richard O'Brien says, Tim IS Frank. And the show's main attraction. I still get goose-bumps every time I hear him sing "Sweet Transvestite". When he's on screen, the air crackles with energy - and sexuality. It may seem tame now, but back in 1975, this movie was shockingly explicit (and got the mandatory R rating in the States). In more than this aspect, it is one of the most daring productions ever made for the big screen, and maybe that's why it flopped the first time it was released. This piece of art is not meant for the masses: it is for an enlightened and select following...

Brotherhood of the Wolf (2001)

Beware of the Beast!

[8/10 · 12 April 2002]

This kind of movie has not been produced in France for ages, and, in that regard, came as a surprise (along with similarly realised Vidocq). Effortlessly, it intertwines genres that normally seem mutually exclusive; it is, thus, a period picture, which is also an action movie, not to mention a suspenseful thriller. And it can pull all this off. What captures the eye first, is the stunning photography, reminiscent of many a Tim Burton film, with a hint of Merchant Ivory. In this picturesque French countryside, a horrible and mysterious beast kills peasants by the dozen. Enter an equally mysterious gentleman and his exotic friend, envoys of the current King of France (Louis XVI?). The enlightened man from the capital finds himself in a close-knit society, full of dark undercurrents - typical of rural areas the world over. Soon it becomes obvious that some people in the lordly manor know something or other about the beast, even though they stubbornly insist it is a wolf. Of course, we learned from Sleepy Hollow that every supernatural scourge must have a master in the world of the living... A sense of danger permeates the atmosphere when the otherworldly shadow of the beast appears in the background, but even more so when some of the very much flesh-and-blood characters enter a scene.

Among the many people with hidden agendas, Monica Bellucci's Sylvia shines in the most enigmatic role of the story; even though it is quite clear from the beginning that she is no simple prostitute, you probably won't guess until the very end what her real involvement amounts to.

And so we follow the many twists and turns of the plot, some of them expected, some far from it - including one near the end that looks very final. In spite of its considerable running time (142 minutes), the pace of the movie never slackens. The showdown is a rather bloody spectacle, but it does tie up all loose ends. In one last twist, the narrator reveals himself and his ultimate fate, as if to remind us of the historical context of the legend.

Cruel Intentions (1999)

Great adaptation, outstanding performances.

[8/10 · 12 April 2002]

Possible Spoiler.

Another adaptation of a classic for today's teenage audience - and frankly, one of the best. Of course, the story is tried and tested; Its best cinematographic adaptation to this day is "Dangerous Liaisons" with John Malkovich and Glenn Close. All the more surprising, then, that the daring performances of Ryan Phillippe and Sarah Michelle Gellar result in characters every bit as evil as their period predecessors', and possibly more disturbing, since they are, in theory, only teens. And I have to repeat: these are brave, uncompromising portrayals of ruthless people, and these very young actors do an amazing job. Especially Gellar shines in a wholly unsuspected light, in a kind of role that required a good amount of daring on her part. Alone for the scene where she teaches Cecile how to kiss properly, both she and the studio deserve an award for sheer nerves, since that's the kind of scene that usually gets Christians in the States to declare the movie a new incarnation of the devil. What it did earn them, in this case, was the MTV Movie Award for Best Kiss - and the R/18 rating in most parts of the world outside of Europe. Those of us who can look past such blasphemous acts, are then rewarded with more insight into the abyss of the jaded rich kid's soul. The plot unravels as it must, with death and public shame; fittingly themed to the old saying that what goes around, comes around.

Romeo + Juliet (1996)

An Ode to the Bard!

[8/10 · 12 April 2002]

There are some spoilers here for those who've never, ever heard about this play.

Often used as a blueprint for movies through the decades, never has Shakespeare's play about the true essence of love been brought to life in such spectacular, breathtaking fashion. Baz Luhrman does it again. In this case, he takes the Bard's play and transfers it to our times, our world. Yes, there has been a string of teen-movies based on classic literature recently (Clueless, Cruel Intentions, 10 Things I Hate About You, etc.), but where Luhrman goes further than everyone else is by actually taking Shakespeare's language along for the ride. And, surprisingly, it works. He knows how to pick the right lines of the play, to convey meaning understandable beyond its archaic words. And thus, when Mercutio (Romeo's best friend and the only drag queen I've ever seen in a Shakespeare) uses his dying breath to lay "a plague on both your houses", the immediate sense of foreboding makes itself powerfully known. More so, Luhrman even dares to play with these very words to add a unique sense of humour to high drama, as when a light in the Capulet's mansion goes on and Romeo says: "What light through yonder window breaks? It is the east, and Juliet is the sun." But neither the occasional jest nor the almost comic-book like style of the movie's photography ever divert the attention away from the impending tragedy. The sheer force of the emotional build-up is astonishing - and serves as proof that Shakespeare's work transcends space and time.

Harry Potter and the Sorcerer's Stone (2001)

All I had been hoping for

[8/10 · 11 April 2002]

I had the same doubts many others had, namely: Is it worth the hype? And let me tell you, the answer is a resounding YES. Those who stay away from the books only because an evil advertising campaign has made them annoyingly omnipresent, deprive themselves of the genuine pleasure of reading some of the wittiest and most thrilling books ever written for children and adults alike. In spite of some cliches the critics obviously had to complain about, the story is complex and surprisingly profound considering the target audience. And that is where the true strength of the narrative lies, as the storyteller treats the children like adults - which, of course, makes the books interesting for adults.

So, why am I commenting the books instead of the first film here? Because Chris Columbus has done the rare and beautiful thing most directors are incapable of: he translated the first novel practically verbatim to celluloid. Obviously, some things had to be cut out, since the present movie was already some 150 minutes long. Even so, he knew what to cut, and what to keep, and refrained from adding stuff in a kind of auto-tribute to himself, so popular among directors these days. Still, there had to be those who griped about that aspect in particular, calling him uninspired and boring. Apparently, they have not read the book, or they'd know that all we need to know for now is right up there on the screen.

The casting is another strong point of the film. Long before the movie came along, I saw Maggie Smith whenever I read the name of Professor McGonagall; Alan Rickman is just deliciously evil as Professor Snape, dripping poison wherever he roams. The three children do a terrific job, especially Emma Watson as Hermione. And the Dursleys... wonderful. The only one who falls a bit short of the collective expectations is Fang: I think you can't help imagining him so much bigger. For the second part, we can look forward to Kenneth Branagh as Gilderoy Lockhart. I can hardly wait to see that.