We fly behind the scenes of The Aeronauts to find out how director Tom Harper and his team brought the detailed world to life.
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Title: Happy Accidents (2000)
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| Cast overview, first billed only: | |||
| Marisa Tomei | ... | Ruby Weaver | |
| Vincent D'Onofrio | ... | Sam Deed | |
| Holland Taylor | ... | Therapist | |
 |
Mick Weber | ... | Floor Supervisor |
| Nadia Dajani | ... | Gretchen | |
| Tamara Jenkins | ... | Robin | |
| Cara Buono | ... | Bette | |
| Lianna Pai | ... | Claire | |
| Neal Huff | ... | Artist | |
| Sam Seder | ... | Ned | |
| Robert Stanton | ... | Fetishist | |
| Stephen Gevedon | ... | Frenchman (as Steve Gevodan) | |
| Larry Fessenden | ... | Junkie | |
| Sean Gullette | ... | Mark | |
|
|
Bronson Dudley | ... | Victor |
Ruby Weaver has man trouble: she tries to fix them, so she's stuck herself with a string of losers. Her current lover, Sam Deed, seems different: he's sweet, tender, just in from Dubuque. But, as Ruby tells her therapist about Sam, in flashbacks we see someone not quite of this world. In fact, Sam informs Ruby that he's from the future, 2470 to be exact. Ruby's sure he's delusional, but most of the time she wants to keep him - and maybe fix him. Although he seems sane, maybe Sam hasn't told her the real story: what's he up to, and who is Chrystie Delancey? Written by <jhailey@hotmail.com>
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WOW!!
I had heard good things about this film, had liked Session 9 a lot, and will watch anything with d'Onofrio. Even so, this film completely blew me away.
It's science-fiction for adults, who prefer ideas and emotions to explosions and goofy makeup.
It's romantic dramedy at its best, with two memorable characters portrayed by highly skilled and REAL actors. In fact both Tomei and d'Onofrio are close to perfect in these roles.
It's a premise that continues to develop over the entire span of the film, never becoming predictable or plot-driven.
It offers striking supporting performances from Holland Taylor and Jose Zuniga, and a flat-out GREAT scene with Tovah Feldshuh that's driven by subtle and moving screenwriting.
It offers memorable and witty cameos from Mike McGlone and Anthony ("just call me Michael") Hall. And you gotta love the conceit of a guy who fantasizes about being A.M. Hall during sex!
From the opening shot to the end, it offers countless felicities of mise-en-scene, camera movement, framing, and editing, courtesy of Brad Anderson.
And there's a final shot that manages to be both very subtle and emotionally complex, while still seeming completely inevitable.
I even liked the loose ends that were never wrapped up!
SEE THIS FILM!