The daughter of a brilliant but mentally disturbed mathematician, recently deceased, tries to come to grips with her possible inheritance: his insanity. Complicating matters are one of her father's ex-students, who wants to search through his papers, and her estranged sister, who shows up to help settle his affairs.
When a terrorist bombing in North Africa kills 19 incl. an American, an Egyptian chemical engineer flying from South Africa to his wife in USA, is arrested upon arriving USA. He disappears. His wife asks senator for help.
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Gavin Hood
Stars:
Reese Witherspoon,
Jake Gyllenhaal,
Peter Sarsgaard
After Jack gets caught with a Vegas mobster's wife in bed, he's gotta hit the road. Jack's best friend Pilot accompanies him, and the pair sets out on an adventure akin to Kerouac's "On the Road".
Director:
James Cox
Stars:
Kimberley Kates,
Jared Leto,
Jake Gyllenhaal
When noted anthropologist Dr. Ethan Powell, who left society to live in the jungle is imprisoned for murder, it's up to young psychiatrist Theo Caulder to get through to him.
Director:
Jon Turteltaub
Stars:
Anthony Hopkins,
Cuba Gooding Jr.,
Donald Sutherland
A successful investment banker struggles after losing his wife in a tragic car crash. With the help of a customer service rep and her young son, he starts to rebuild, beginning with the demolition of the life he once knew.
When a disgraced former college dean has a romance with a mysterious younger woman haunted by her dark, twisted past, he is forced to confront a shocking fact about his own life that he has kept secret for fifty years.
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Stars:
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A psychological study of operations desert shield and desert storm during the gulf war; through the eyes of a U.S marine sniper who struggles to cope with the possibility his girlfriend may be cheating on him back home.
Catherine is a woman in her late twenties who is strongly devoted to her father, Robert, a brilliant and well-known mathematician whose grip on reality is beginning to slip away. As Robert descends into madness, Catherine begins to wonder if she may have inherited her father's mental illness along with his mathematical genius. When Robert's work reveals a mathematical proof of potentially historic proportions, it sets off shock waves in more ways than one.Written by
yusufpiskin
When Catherine and her father take dinner and they are talking about how many days she missed by being lazy, her hair position alternates from a shot to another. Her fringe is first on the sides of her face, then in the next shot it's pulled back to her ponytail, then back again on the sides in the next shot. See more »
Quotes
[first lines]
Robert:
[stirring her out of a dream]
Can't sleep?
Catherine:
Oh, Jesus! Oh, you scared me.
See more »
I'm Ready
(1954)
Composed by Willie Dixon
Performed by Muddy Waters
Published by Hoochie Coochie Music and Administered by Bug Music Ltd.
Courtesy of Polydor UK Limited
Licensed by kind permission from The Universal Film & TV Licensing Division See more »
"Proof" hones in on the emotional relationships in the play. With Rebecca Miller jointly credited with David Auburn on adapting his play, this is less coy about who did what to whom when in reality or delusion than it is about connections between people.
The flashbacks cut effectively back and forth and smooth out where each character is coming from.
"Catherine," the daughter of a brilliant mathematician who is somewhat modeled on John Nash's struggles with madness which were portrayed in "A Beautiful Mind," is still the focal point of attention. But with the other characters fleshed out more Gwyneth Paltrow has more to naturalistically react to than the stage actresses (I saw it on Broadway with a mercurial Anne Heche). Paltrow brings unexpected fragility to the role and makes her sarcastic accusations to her sister come out of personal pain and not just spitefulness. You really see that she is emotionally ravaged from putting her life and mind on hold for a father with a very strong personality.
Anthony Hopkins is unusually paternal as the father and you understand her attractions and fear of him, as well as why the sister had to flee how insecure she felt there, as Hope Davis manages to breathe some life into a strident character. We see very clearly the demands of being a caregiver to a legend. Unlike in "Iris" at the end of careers, we do ache at the sacrifices the young caregiver has made and how this claustrophobic existence has led to her own crippling doubts about her work, her life and her sanity.
Jake Gyllenhaal is the hunkiest, most adorable, rock 'n' rollin' math graduate student since Matt Damon in "Good Will Hunting" and could help increase math enrollments around the country. But as irresistible as he is, and their relationship is literally more believably fleshed out as young people than in the play, we also can share Paltrow's suspicion of him. But we see more of his activities, as the film opens up the play, so we too clearly know before she that he has regained in our credibility as he seeks his proof. I don't mind that the film adds to the romantic aspects and drawn out coda as I thought the play tempted unfulfillingly in that direction and it is a means to help her regain the multiple meanings of proof -- as evidence, as trust, as confidence.
Director John Madden keeps the camera moving actively during long dialog interchanges, reflecting "Catherine"s agitated state of mind. The house and academic setting well establish the atmosphere, particularly when there's more people around, though some of the outdoor shots seemed like filler.
The score is occasionally intrusive, but the concluding voice-over is even more annoying and unnecessary.
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"Proof" hones in on the emotional relationships in the play. With Rebecca Miller jointly credited with David Auburn on adapting his play, this is less coy about who did what to whom when in reality or delusion than it is about connections between people.
The flashbacks cut effectively back and forth and smooth out where each character is coming from.
"Catherine," the daughter of a brilliant mathematician who is somewhat modeled on John Nash's struggles with madness which were portrayed in "A Beautiful Mind," is still the focal point of attention. But with the other characters fleshed out more Gwyneth Paltrow has more to naturalistically react to than the stage actresses (I saw it on Broadway with a mercurial Anne Heche). Paltrow brings unexpected fragility to the role and makes her sarcastic accusations to her sister come out of personal pain and not just spitefulness. You really see that she is emotionally ravaged from putting her life and mind on hold for a father with a very strong personality.
Anthony Hopkins is unusually paternal as the father and you understand her attractions and fear of him, as well as why the sister had to flee how insecure she felt there, as Hope Davis manages to breathe some life into a strident character. We see very clearly the demands of being a caregiver to a legend. Unlike in "Iris" at the end of careers, we do ache at the sacrifices the young caregiver has made and how this claustrophobic existence has led to her own crippling doubts about her work, her life and her sanity.
Jake Gyllenhaal is the hunkiest, most adorable, rock 'n' rollin' math graduate student since Matt Damon in "Good Will Hunting" and could help increase math enrollments around the country. But as irresistible as he is, and their relationship is literally more believably fleshed out as young people than in the play, we also can share Paltrow's suspicion of him. But we see more of his activities, as the film opens up the play, so we too clearly know before she that he has regained in our credibility as he seeks his proof. I don't mind that the film adds to the romantic aspects and drawn out coda as I thought the play tempted unfulfillingly in that direction and it is a means to help her regain the multiple meanings of proof -- as evidence, as trust, as confidence.
Director John Madden keeps the camera moving actively during long dialog interchanges, reflecting "Catherine"s agitated state of mind. The house and academic setting well establish the atmosphere, particularly when there's more people around, though some of the outdoor shots seemed like filler.
The score is occasionally intrusive, but the concluding voice-over is even more annoying and unnecessary.