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Reviews
The Notebook (2004)
... not a dry eye in the house
Featured at the opening night of the Seattle International Film Festival, screenwriter Jeremy Leven introduced the film with a note: in advance showings of the film, many people blamed the pollen count for their sniffling throughout the film. Of course, it wasn't the pollen.
The Notebook is an exceptionally romantic and sentimental story of the bittersweet relationship between lovers initially separated by class. I won't spoil the film for those who haven't seen it by going into why this provoked so much crying in the audience.
It was great to see new faces in the cast -- especially Rachel McAdams (who was in Means Girls, which I haven't seen but will now). I recommend this beautiful film, with the caveat that you should see it with a battery of tissues and someone you're comfortable crying with.
Henry Fool (1997)
Don't have a nose ring; liked this movie anyway
Like most of Hal Hartley's films, Henry Fool is a story with a moral, heavy on the dialogue, but enjoyable nonetheless. My summary responds to an extant IMDb comment on the film, which is one person's opinion.
While I understand why not everyone would like Henry Fool, I know a number of people who would, especially if they're into dialogue, are writers, enjoy making fun of writers, or enjoy plays, or play-like movie acting like some of David Mamet's film work.
There's a lot to like about Henry Fool, a great cast, a great Faustian story, and an explanation of the difference between "there," "their," and "they're" better than any I've heard. Actually, the only I've heard that I can remember, but pretty funny regardless.
As usual, Parker Posey is fantastic, but so are James Urbaniak and Thomas Jay Ryan. It's an ensemble work, quirky, a little heavy handed, but entertaining, thoughtful, and well written.
Todo sobre mi madre (1999)
Almodovar's best to date, an incredible study of grief and self-awareness.
Although I am a big fan of Almodovar's earlier "fun" work, focused on neurotic female junkies and other societal outcasts, I like the direction he's taking with All About My Mother (and Live Flesh, which was almost as good). His character development is strong, and as always, the characters are funny, mostly female, deep, and sympathetic. I appreciate seeing multidimensional, strong, female characters in film, and connected with each of the female characters in this film
The Cider House Rules (1999)
Touching, although slightly disappointing adaptation of John Irving's incredible novel.
Cider House Rules has long been one of my favorite novels, one of the few I have read twice, and one I frequently recommend to close friends. I think this colored my impression of the movie. I was hoping for the depth of the written work, but didn't see it. Compared with the character development in the novel (which is probably an unfair comparison) the film's characters seemed more two-dimensional. This said, I think the film's casting is true to the novel.
The Third Man (1949)
An expressionist view of post-war Vienna, The Third Man is one of the most artfully crafted films I've seen.
Strong cinematography and direction yield this amazing study of light and darkness. Although the Third Man's plot is vintage post-war noir, and compelling, the sequence of spaces captured by Reed are the most noteworthy aspect of the film. Each street scene is worthy of an exhibit.
Although certainly a classic, I'm surprised this film isn't more popular in architecture programs