After a tragic car accident kills his wife, a man discovers he can communicate with the dead to con people. However, when a demonic spirit appears, he may be the only one who can stop it from killing the living and the dead.
Michael J. Fox,
Tim and his friend Can go to bars and lie to girls about one of them being terminally ill so they can gain sympathy and be guaranteed a "hook up" for the night. Tim meets Marie hooks up ... See full summary »
Linda was a one hit wonder as a pop singer. She never managed to follow up her early success and now her producer and boyfriend Friedrich has taken on a new and younger starlet while Linda ... See full summary »
Based on the true story of Juliet Hulme and Pauline Parker, two close friends who share a love of fantasy and literature, who conspire to kill Pauline's mother when she tries to end the girls' intense and obsessive relationship.Written by
Alexander Lum <firstname.lastname@example.org>
The shrine that the girls build in the woods includes the following: Mario Lanza (operatic film tenor), James Mason(actor), Mel Ferrer (actor), Jussi Björling(operatic tenor) and Orson Welles (actor).These also figure in the fantasy sequences. See more »
When Juliet drops the gem, Pauline then points it out and we see a shot of it. Then we see a second shot of it, as Honora picks it up. Between the two shots the position of leaves and twigs around the gem changes. See more »
[Director Peter Jackson opens with the scene that should, logically, end the film: that is, the moments immediately following the murder. The girls Juliet and Pauline run screaming up the hill-path to the tea-house, sobbing and covered in blood. The scene is intercut with b&w visions of the two running across a ship deck to meet Dr. and Mrs. Hulme, whom they both refer to as their mother, as the first three exclamations of "Mummy!" demonstrate]
[...] See more »
Preceding the opening credits: "During 1953 and 1954 Pauline Yvonne Parker kept diaries recording her friendship with Juliet Marion Hulme. This is their story. All diary entries are in Pauline's own words." See more »
The original New Zealand version ran 108 min. Peter Jackson then cut 9 minutes from the film for the international release. (he has mentioned that the 99 min. cut is the one he prefers.) See more »
I understand why teenage girls would like this movie--the thrilling rush of new found deep friendship tied together with nascent sexuality and all that comes with it...the defying of the confines of the world around them...the incredible power of unfettered creativity and self-delusional belief...
What's amazing is that a jaded thirty-something man like myself would consider it to be his favorite film of all time. Peter Jackson shows a deftness in handling interpersonal characterizations and blending in amazing special effects in a way that seems so natural...so fluid...that you while you're awed by what you see, you're not so aware of the process that you're distracted. The oh-so-1993 effect of "morphing" is used better here than any other film (save, perhaps, Terminator 2--but in that movie, the morphing WAS the film...when here, it is merely one element.)
The direction is exemplary. The cinematography is awe inspiring. The script is sharp. The acting...down the line...is superb. Melanie Lynskey delivers a brave performance--giddy, childish, frightening, sexual, clouded... She's everything Christina Ricci pretends to be. Kate Winslet--hyper-bright and wonderful...her performance here reminds you that her "Titanic" performance was "sunk" (sorry!) by the extremely poor dialogue she was given. Her character's overly cheerful demeanor is a mask that covers her disappointment in her parents--but it's extended so far that it no longer seems like a mask...it seems to be a force of nature that drags Lynskey's Pauline along for a dangerous ride...a ride that Winslet's Juliet is in no position to control. There are crisp performances from all of the supporting cast as well.
Jackson should be listed with Gilliam and even Lynch when it comes to directors who can achieve a glorious, if dark, vision. The fact that Jackson's movies (save for "Meet the Feebles") are mainstream accessible--in ways that Lynch, especially, could barely consider (although "The Frighteners" was painfully overlooked by the US market)--makes me wish that he'd try his hand at more mainstream material.
Imagine what a Peter Jackson "Titanic" would have been like...and compare that to what a James Cameron "Heavenly Creatures" would have been like and you get my point.
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