ctr4etrnty Reviews

House of Sand and Fog (2003)

Blurring The Line Between Right And Wrong

[8/10 · 8 April 2004]

*****SPOILERS TO FOLLOW********



There are films that force the viewer to take sides in a conflict by making a clear distinction between who is right and who is wrong. House of Sand And Fog is unique in that it makes no such distinction and leaves it up to the audience to choose sides - if it's possible to pick a side at all. It is a film content to straddle the fence and allow the viewer to decide which side to come down on - a dilemma that will have you thinking long after the credits roll.

Based on the best-selling novel penned by Andre Dubus, and helmed by Vadim Perleman, House of Sand and Fog is a disturbing examination of the American Dream and the lengths one will go to achieve it - and, hang onto it once obtained. Many will likely view it as a depressing story about three people making horrible choices. And, they would certainly be right. But, it is also a film that emphasizes the importance of understanding one another and not letting our own desires cloud our view of the greater good that can be achieved by placing the needs of others above our own.

Jennifer Connelly is Kathy Nicolo, an emotionally fragile woman struggling to recover from addiction and a failed marriage. Choosing to tune out the world and wallow in her misery, Kathy is unaware that her house is scheduled to be sold at auction (the result of a $500 tax bill left behind by her ex) until the authorities show up at her door with an eviction notice. Homeless and desperate to take back the childhood home willed to her by her father, Kathy enlists the aid of a lawyer (Francis Fisher) whose efforts to reason with the new owner fail. Meanwhile, seeking a sense of safety and security, Kathy begins an affair with Lester Burdon, the Deputy Sheriff who reluctantly evicted her from her home.

Mr. Behrani (Ben Kingsley) is an Iranian immigrant, a former Colonel in the Shah's army accustomed to the wealth and prestige of the position. Now in America, he struggles to maintain the appearance of wealth by working at menial jobs to support his family's lavish lifestyle. Behrani, however, is a man with a plan to purchase a home at auction, live in it for a while, and then sell it for a tidy profit. His version of the American Dream seems perfect - until he happens to purchase the home of Kathy Nicolo. His refusal to sell the house back to the county for anything less than the appraised value (4x more than he paid at auction) ultimately results in tragic consequences for everyone involved.

Perleman elicits strong performances from his cast. Connelly (A Beautiful Mind, Requiem For A Dream) is one of the finest young actresses in Hollywood and she does an excellent turn as the distraught Kathy. It is a quietly effective performance, deeply moving as we watch her slowly unraveling in her despair. Kingsley (Ghandi, Sexy Beast) slips effortlessly into his role, striking a delicate balance between hard-nosed military man and softhearted humanitarian. His is a wonderfully layered and rich characterization and certainly worthy of nomination by the Academy. Ron Eldard (Black Hawk Down, Ghost Ship) is also terrific as Lester, whose attraction to Kathy drives him to make decisions that put his career and freedom at risk. As impressive as these performances are, the one that you will likely remember most at film's end is that of Shoreh Aghdashloo as Behrani's wife Nadi. She is absolutely amazing, a woman caught in the middle, fearful and trying to understand the conflict between her husband and the troubled young woman turning their world upside down.

The newly released DVD features commentary by Perleman, Kingsley, and Dubus with all providing interesting details about the film, a brief making-of featurette that provides little excitement, Shoreh Aghdashloo's original audition tape which makes the reason she was chosen for this project (and an Oscar nomination) crystal clear, a handful of deleted scenes with or without director's commentary, a photo gallery with commentary, cast & crew bios, and production notes.

Overall, House of Sand and Fog is an impressive and thoughtful adaptation of the novel. Perleman has created a film both visually and emotionally stunning, as uncompromising as its central characters in blurring the line between right and wrong.

Cheaper by the Dozen (2003)

Baker's Dozen Enjoyable Family Fare

[7/10 · 7 April 2004]

OK, I admit it – I liked Cheaper By The Dozen. Didn't LOVE it, but I liked it. Which will place me squarely in the critical minority, I'm sure. But, here's the thing. I'm first, and foremost, a family man. And, from a parental perspective, I can tell you that films I can feel comfortable sitting down and watching with my kids are few and far between. Cheaper By The Dozen is one of those films, a non-threatening, light-hearted piece of fluff that leaves you feeling….pretty good.

When the film opens, Tom (Steve Martin) & Kate (Bonnie Hunt) Baker are happily raising their brood of 12 children (including Tom Welling & Hilary Duff) in a quaint country home filled with the sounds of organized chaos. When Tom, a football coach, lands his dream job coaching his alma mater, the family picks up and moves to the city where the kids have a hard time adjusting to their new life and cope by creating plenty of mischief. Shortly after arriving in their new home, Kate learns that her recently completed book has been published and she reluctantly embarks on a two-week book tour leaving Tom to run things at home. With his growing responsibilities at work and a small army of rebellious children to contend with at home, Tom confronts the issues of balancing work and family with results that are often very humorous.

If all of this sounds very formulaic it is. There is little in the way of surprises here – much of the plot is recycled from any one of a dozen other family films (this film is, in fact, based on a 1950 film of the same title although this film bears little resemblance to the Clifton Webb/Jeanne Crain version). But it is loaded with nice little comedic moments, such as a frog that disrupts the family breakfast, a running gag involving a chandelier (featuring a fit and trim Wayne Knight), Tom trying to cook dinner while dealing with a steady flow of child-related issues, and a gag involving the family dog, meat-soaked underwear, and Ashton Kutcher (I gotta admire the guy for looking straight-faced into the camera while delivering the line `My face is what gets me jobs. I know I'm not a good actor, it's the face that gets the work!'). Under the comedic surface lie themes of family unity, cooperation, priorities, and unconditional love.

As for the performances, they're ok. Martin (Bringing Down The House, Father of the Bride) and Hunt (Beethoven, Bug's Life) work nicely off of one another and have a pretty decent on-screen chemistry. Duff (The Lizzie Maguire Movie, Agent Cody Banks) doesn't have to stretch too far playing the family's teen fashion diva and Welling (TV's Smallville) gets plenty of face time as the oldest brother. Piper Perabo (Coyote Ugly) is the oldest child who has recently left the nest to move in with her actor boyfriend. With an ensemble cast this large, it is difficult for anyone in the cast to stand out performance wise, but each gets a moment during the film to reveal a bit of his or her personality.

Overall, Cheaper By The Dozen is innocent and inoffensive family fare that the kids will probably love and parents will find rather enjoyable.

Far from Heaven (2002)

Far From Heaven Close to Heavenly

[8/10 · 6 April 2004]

An homage to the films of Douglas Sirk, Far From Heaven is a period melodrama that begins by celebrating the idyllic lifestyle of the 50's and then strips this picture-perfect world of its glossy veneer to reveal the ugly imperfections lying beneath the surface.

Frank (Dennis Quaid) and Cathy Whitaker (Julianne Moore) appear to have it all. Known around their Hartford, Connecticut neighborhood as `Mr. & Mrs. Magnatech', he is a successful sales executive, she a housewife and mother devoting her free time to worthy causes and swanky dinner parties. The Whitaker's are the very picture of 50's culture, well bred and well mannered, 2 kids, and one car, surrounded by adoring friends in middle-class suburbia. All that is threatened when Cathy discovers that Frank has been harboring a secret and she realizes that her world is about to come crashing down around her. With no one else to turn to, Cathy develops a friendship with her black gardener, Raymond (Dennis Haysbert) - a relationship that soon develops beyond mere comfort and further undermines her standing in the community. In the end Frank, Cathy, and Raymond must face a difficult choice - deny what they feel and follow the conservative status quo or risk it all to follow their hearts.

Stylistically, Far From Heaven is a beautiful film. From the sets to the wardrobe, the music to the script, Todd Haynes and company have created an atmosphere that immediately brings to mind such classic Sirk films as All That Heaven Allows and Written On The Wind.

The performances are excellent. Moore (The Hours, Evolution) could easily have become a June Cleaver caricature, but instead brings a great deal of depth to this woman struggling to keep up appearances as her life unravels. Quaid (The Rookie, Frequency) does fine work as Frank moves from the embarrassment at having his secret discovered, to stoic determination to `cure' himself, to accepting himself for who he is. Haysbert (Waiting To Exhale, Love & Basketball) is a strong supporting player, sympathetic and likeable, but his best moments do not arrive until late in the film. Patricia Clarkson (Miracle, Dogville) makes the most out of an underwritten role as Cathy's best friend.

The DVD is loaded with bonus features including The Sundance Channel's Anatomy of a Scene, which is a terrific look behind the scenes at the film's pivotal scene and the elements (costuming, production design, editing, music, and camera work) that make it memorable, a making-of featurette that re-hashes much of the material presented in Anatomy of a Scene, commentary from director Haynes, a very brief Q&A session with Moore and Haynes featured at The Filmmakers Experience that should have been much more interesting, the original theatrical trailer, extensive production notes, and cast/crew bios.

Far From Heaven is not a perfect film, but I found it endearing and intriguing - and closer than the title would indicate.

Something's Gotta Give (2003)

Predictable Fun

[7/10 · 4 April 2004]

In the interest of full disclosure I should tell you that I love Jack Nicholson. In my world, the man can do no wrong. Even at his worst he is better than most and, when he's firing on all cylinders, he's a thing of beauty. Such is the case with Something's Gotta Give, the witty Nancy Myers rom-com that earned an Oscar nod for co-star Diane Keaton.

Nicholson (About Schmidt, Anger Management) is Harry Sandstrom, a 60-something playboy with a penchant for younger women. When his current squeeze, Marin (Amanda Peete), invites him for a weekend retreat in the Hampton's, it sets off a chain of events that will see Harry struggling to give up his wanton ways for something he always considered unimaginable – the love of an older woman.

Nicholson is terrific as he transitions from sexy swinger to forlorn lover. His Harry is a man conflicted, struggling to hang on to his youth in the face of his own mortality. Harry is a `dog', a commitment-phobe who uses women as playthings and has been celebrated in the media as an emotional escape artist. Nicholson plays that side well, but he also makes Harry extremely likeable, using charm and humor to win over Erica.

Which brings me to Diane Keaton (Annie Hall, Father of The Bride). As wonderful as Nicholson is, this is Keaton's film and her performance proves to be worthy of nomination. Erica Barry is Marin's mother, a 50-ish divorcee' with a successful career as a playwright. Divorced and resigned to thinking she is past her romantic prime, Erica is thrown together with Harry through a set of rather comedic circumstances that ultimately lead her to realize that love is still capable of blooming even in the years of autumn. Keaton delivers one of her best performances in recent memory as Erica re-discovers a side of her life she believed might be lost forever. Her journey from strength to vulnerability and back again is funny, touching, and poignant.

The film features nice supporting performances from Frances McDormand (Fargo, City By The Sea) as Keaton's feminist sister and Peete (The Whole Nine Yards, Saving Silverman). Keanu Reeves (The Matrix, Hardball) is ok as the handsome young doctor who convinces Keaton to embark on her own May-December romance.

The weaknesses lie in Myers script. As with her previous writing/directing effort, What Women Want, there are plenty of sly observations regarding relationships between the sexes, but much of it treads familiar ground – only the faces and names have changed. The film is definitely slanted to a feminist point of view but, to her credit, Myers never allows Harry to look like a complete chauvinist pig. And, there are plenty of sparkling moments such as the look Harry gives Erica as he says the line `You don't want pancakes anymore?' after Marin interrupts a late-night conversation between them in the kitchen, or beautifully humorous scene in which Harry and Erica consummate their relationship, or Erica's over-the-top breakdown after she and Harry break up. But, there are also moments that feel unnecessarily maudlin and the contrivances that drive the story feel a little too convenient. The last act is particularly predictable and, while most will find the fairy tale ending satisfying, I felt as if Myers sold out just a bit.

Something's Gotta Give may revolve around characters in the twilight of their loves, but its universal themes of love and discovering yourself broaden its appeal to a wider audience. While far from being a great film, it provides plenty of entertaining moments.

Hellboy (2004)

Hellboy Crushes Competition

[9/10 · 3 April 2004]

For director - and comic book connoisseur - Guillermo del Toro, bringing Hellboy to life on celluloid was a labor of love and his passion for the material is evident in every frame, from first to last. This much anticipated film, adapted from the Mike Mignola - penned comic books, has finally arrived in theaters and was well worth the wait.

In a recent interview published in a nationally known film publication, del Toro states that the only actor he ever considered for Hellboy was Perlman. At one point, Universal wanted to develop the film with Vin Diesel or The Rock in the role but del Toro balked at the idea and the project remained in limbo until it was picked up by Revolution. It turns out del Toro's instincts were right on the mark. Perlman is an excellent Hellboy, hardened and tough one minute, weak and vulnerable the next. Perlman not only has the right physical look for the character but he understands the inner workings of the character, the very human side underneath the bulky red exterior. Hellboy is a super hero, no doubt, but he's also a guy who loves to drink beer, smoke cigars, and chew on a Baby Ruth and it's in the moments when Hellboy is just a regular Joe that Perlman really shines. The supporting cast is also very good, but Perlman is the real star of this show and he more than rises to the challenge.

Del Toro's vision has been realized right down to the smallest detail and the film is visually stunning. Del Toro shot every inch of it himself and his mastery of the camera is evident in even the smallest of scenes. The set pieces, costumes, makeup, and special effects are all achievements of skill that bring to life the world in which the story takes place in a way that even the most casual film-goer can appreciate. As you would expect, the action sequences are bigger than life: a chase through the city, Hellboy battling the Samarrea in a subway station, and the final showdown in Rasputin's stronghold are amazingly staged. But, what makes the film really special are the little moments: H.B visiting Liz at the psychiatric hospital, Hellboy surrounded by wads of crumpled paper as he tries to express his feelings for Liz in a note, Hellboy sitting on a rooftop with a young boy as he jealously critiques Myer's attempts to woo Liz, the way in which Abe convinces Liz to stay – all wonderful, and often humorous, scenes that tie the film together and make the characters likeable.

I just can't say enough about Hellboy. In terms of pure entertainment value, it is second to none, but it is also a very good film – if not surpassing at least on par with The X-Men or Spiderman in terms of brilliantly bringing a comic book hero to life on the big screen.

There are more stories to tell and, in the hands of del Toro and Perlman, Hellboy could very well be the auspicious beginnings of a spectacular franchise. We can only hope to be so lucky!

Brother Bear (2003)

Brother Bear Warm & Fuzzy

[8/10 · 31 March 2004]

On the surface, Disney's Brother Bear is a touching family film filled with adventure, humor, and likeable characters. Looking beyond the surface, you will also find a film resonating with themes of family, tradition, brotherhood, forgiveness, love and, most important, transformation. There is, of course, the literal transformation of the film's central character, Kenai (voiced by Joaquin Phoenix), into a bear but there is also the transformation of his heart, an awakening of his soul as he comes to a new level of understanding by walking in another's shoes – or, in this case paws! It is a theme that feels especially timely and a not so subtle reminder that judging others out of fear and hate is never as effective as an approach of love and understanding. One of the better films to come out of Disney studios in recent years, Brother Bear is wonderfully animated with lush painted backgrounds and 2- & 3-D drawings that hearken back to the pre-CG glory days. Directors Aaron Blaise and Robert Walker have assembled some of the best voices in the business to breath life into the characters. In addition to Phoenix, Brother Bear features the talents of D.B. Sweeney, Jeremy Suarez (TV's Bernie Mac), Jason Raize (Broadway's The Lion King), and Michael Clarke Duncan. Comic relief is hilariously provided by Dave Thomas and Rick Moranis who lend voice to a pair of Canadian Moose who sound suspiciously like Bob & Doug Mackenzie. Phil Collins contributes to the score and has penned a handful of rousing new songs performed for the film by Tina Turner, The Blind Boys of Alabama, and the Bulgarian Women's Choir. Brother Bear isn't likely to be dubbed an instant classic, but with its exciting story and wholesome messages, it is a fine addition to your family's home movie library.

Cold Creek Manor (2003)

Cold Creek Manor Should Be Condemned

[4/10 · 30 March 2004]

In an interview highlighted as a bonus feature on the DVD, Cold Creek Manor director Mike Figgis (Leaving Las Vegas, Time Code) explains the rules of the thriller genre' and the importance of knowing that there is a point where the audience `gets it' and wants the story to move forward quickly. Unfortunately, Figgis forgot his own advice and has constructed a film that is unnecessarily long and moves so slowly through the first hour and a half that one begins to think watching grass grow may have been a more constructive use of the time.

The premise is interesting enough and had the potential for creating some real tension. Yuppie family decides to leave the big city and move into dream home in the country. All is well until scary dude arrives, fresh out of prison, to reclaim his house and keep its secrets from being discovered. From there the plot is painfully predictable and Figgis bores us with scene after scene designed to establish the fragile mental state of the antagonist, a point that is abundantly clear to the audience from the moment he arrives on-screen. Watching Dennis Quaid and Stephen Dorff dance around each other for 90 minutes is a lot like watching a school yard fight in which the participants circle around one another trading insults but never throwing any punches. It eventually becomes tiresome to watch and you just want them to kick the crap out of each other and get it over with.

Dorff (Blade, Deuces Wild) delivers the only performance that stands out as the stranger with the troubled past. He walks a fine line between charming and menacing, and there are a couple of instances where I actually felt empathy for his character - until I remembered he was a few fries short of a Happy Meal. The rest of the cast is simply adequate. Quaid (The Rookie, Far From Heaven) does a fine job spending most of the film looking gravely worried and Sharon Stone (Basic Instinct, Casino) proves she has the pipes to rival any reigning scream queen. Juliette Lewis (Natural Born Killers, Starsky & Hutch) makes an appearance as yet another desperate loser clinging to Dorff's character despite his penchant for using her as a punching bag.

Overall, Cold Creek Manor is excruciatingly slow, wholly predictable, and should have been condemned for failing to be up to code.

The Matrix Reloaded (2003)

Matrix Reloaded Disappoints

[5/10 · 29 March 2004]

It has been quite some time since I saw The Matrix, the stunning sci-fi film that featured ground breaking special effects and an intriguing (albeit complicated) plot. What I recall is that it was a far better film than this sequel. The Matrix: Reloaded seems to have been pieced together for no other reason than to cash in on the first film and it lost its soul in the process.

Many of the elements that made the first film such a delightful treat are missing from this installment. The Matrix: Reloaded loses some of the plausibility of the first film and it seems to have been dumbed down to the point that it loses its edge and becomes a somewhat mediocre action hero flick. Neo, Morpheus, and Trinity take themselves so seriously that they become uninteresting caricatures of themselves. What redeem the film for me are the action sequences. The special effects team continues to blow me away with fight scenes that are amazingly choreographed and brilliantly rendered. The battle between Neo and the Mr. Smiths is incredible, as is the protracted fight/chase scene on the freeway.

The Matrix: Reloaded is disappointing in its failure to live up to the reputation of the original.

Pieces of April (2003)

Pieces of April a Delicious Feast

[8/10 · 28 March 2004]

Pieces of April is a poignant, heartwarming story of family and the dynamics that either bring us closer together or tear us apart. Writer/director Peter Hedges (in a terrific directorial debut) takes us on a journey of love, hope, and redemption that tugs at the heartstrings without becoming maudlin. Hedges sure-handed direction is complemented by outstanding performances from a cast that sinks into their roles so completely you feel as if you are watching a day in the life of an average family. Holmes (Abandon, Teaching Mrs. Tingle) is a joy to watch. Estranged from her family for reasons that are never entirely clear, April is wounded and angry and Holmes lets those emotions bubble under the surface of her character while also making clear that she loves and misses them a great deal. Patricia Clarkson (The Station Agent, Miracle) is outstanding as Joy, April's mother. Joy is a woman facing mortality with fierce determination and a morbid sense of humor, a woman desperate to reconnect with her daughter yet filled with fear and doubt that the whole thing will be just another bad memory. The film is filled with great supporting roles including Oliver Platt (Lake Placid, Ready To Rumble) as the patient husband and father struggling to keep the family together, Alison Pill (Confessions of a Teenage Drama Queen) as April's self-righteous sister, Derek Luke (Antwone Fisher) as April's boyfriend, Bobby, and Sean Hayes (Win A Date With Tad Hamilton) as her creepy neighbor, Wayne. Honestly, there isn't one bad performance in the bunch, right down to the numerous bit parts. Pieces of April is a wonderful film, driven by characters easily identified with and cared for. Don't be alarmed if, after watching it, you feel a compelling impulse to call your mother just to say, `I love you'.

Beyond Borders (2003)

Jolie "Issue" Movie Not Bad

[6/10 · 27 March 2004]

Beyond Borders is a slightly better film than most of the reviews I've read would indicate. Examining the people and politics behind relief aid to war torn and poverty stricken countries, it's an `issue' movie that tries to make a statement that is overshadowed by Hollywood special effects and dialogue that is a bit too trite at times. And, while it bogs down in several places, it does bring to light in a very emotional way the struggles of entire countries of people to survive and the valiant efforts of those who would save them in spite of overwhelming odds. Much has been written concerning the casting of Angelina Jolie in this role. Many have felt that she looks out of place in the film, too sexy and glamorous to play the part. But, I think that's exactly what makes her perfect for it. The idea behind Sarah Jordan is that she is pampered, sheltered in a family whose idea of philanthropy is to write a check from a comfortable distance. She's out of her element and when she shows up in the desert of Ethiopia wearing am impeccably white ensemble, complete with wide-brimmed hat and smelling of perfume, her motives immediately become suspect to the hard-edged and frustrated Nick. It is Jolie's look that sells the idea that his woman would have no business being there were it not for her relentless compassion for these people. And, Jolie does a nice job with what the script offers. Owen (Gosford Park, The Bourne Identity) is intensely focused as the doctor willing to do whatever it takes to meet the needs of the people he cares for. Teri Polo (Meet The Parents, Domestic Disturbance) delivers a quietly effective supporting performance as Sarah's journalist sister and Linus Roache (RFK, Pandemonium) does good work as Jolie's long-suffering husband. Beyond Borders is a fairly good film that could have benefited from a bit less proselyting and a bit more storytelling.

Duplex (2003)

Duplex In Need of Renovation

[4/10 · 27 March 2004]

Channeling elements of Throw Momma From The Train and The Money Pit, Duplex is Home Alone for grownups in which a young couple devises increasingly homicidal ways to be rid of the annoying old lady living in the rent-controlled apartment upstairs. And, while the premise sets up a few humorous moments, the film lacks originality and is unabashedly mediocre. Although the credits list them as Alex Rose and Nancy Kendricks, Ben Stiller (There's Something About Mary, Along Came Polly) and Drew Barrymore (Charlie's Angels, 50 First Dates) are basically playing darker versions of themselves as the script offers very little in the way of characterization to suggest anything else. Both seem to be sleepwalking through their scenes and the resulting performances are flat and uninteresting. The idea behind the film is that we're supposed to be rooting for this couple as they try to rid themselves of a source of constant angst, but I actually found myself rooting against them as they reveal themselves to be just as unlikable. After all, unbridled greed and murderous hostility are less than endearing qualities. The bright spot in this dark comedy is Eileen Essel who, in her film debut, is delightful as the kooky neighbor whose annoying ways may be more devious than they appear. All told, Duplex is a monumental disappointment lacking in enough humor to overcome its mean-spiritedness.