A poet falls in love with an art student who gravitates to his bohemian lifestyle -- and his love of heroin. Hooked as much on one another as they are on the drug, their relationship alternates between states of oblivion, self-destruction, and despair.
The lives of two lovelorn spouses from separate marriages, a registered sex offender, and a disgraced ex-police officer intersect as they struggle to resist their vulnerabilities and temptations in suburban Connecticut.
Ben Sanderson, an alcoholic Hollywood screenwriter who lost everything because of his drinking, arrives in Las Vegas to drink himself to death. There, he meets and forms an uneasy friendship and non-interference pact with prostitute Sera.
In 'Gegen die Wand' Cahit, a 40-something male from Mersin in Turkey has removed everything Turkish from his life. He has become an alcoholic drug addict and at the start of the movie wants... See full summary »
Set in the Southern United States, 'Monster's Ball' is a tale of a racist white man, Hank, who falls in love with a black woman named Leticia. Ironically Hank is a prison guard working on Death Row who executed Leticia's husband. Hank and Leticia's interracial affair leads to confusion and new ideas for the two unlikely lovers. Written by
"Monster's Ball" is the fourth of the 2001 movies for grown-ups about adults dealing with death. Here the main characters find redemption through personal relationships and provide hope.
While some in the audience complained it was too slow, the original script by Milo Addica and Will Rokos feels like an expansion of a short story, as the outlines of the plot are fairly simple and not all the back story is explained, and riddled with coincidences barely made feasible by taking place in a small town.
Director Marc Forster finds a way to visually communicate the difference between sex and intimacy.
But the actors fill the spaces of inarticulate characters with complex performances, not just award-winning Halle Berry (a long way from "X Men"). Billy Bob Thornton starts out slightly less laconic than in "The Man Who Wasn't There" but very gradually finds the ability and a reason to smile.
Less attention has been paid to the excellence in smaller roles by Heath Ledger (yes hunky Heath) and Peter Boyle.
Country music is used in the background only when the radio is on; it's a nice local station they got there that plays Jimmie Dale Gilmore.
(originally written 2/17/2002)
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