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Animal Kingdom

Animal Kingdom
Off the back of 'I Love You Too', the latest dud to test our faith in Australian populist filmmaking, the dark and shocking 'Animal Kingdom' by first-time feature director and screenwriter David Michod has bolstered our hopes once again. Michod has, quite deftly, crafted a crime story that manages to tell a very traditional tale in a manner that is identifiably Australian but never overt; delicate and dignified, but bursting into moments of punctuated violence and intensity practically without warning.

The backdrop of suburban Melbourne builds a radical tonal disconnect for the audience; the white picket fences belie the warped family ties at play. Shot with an eye for capturing the bleak atmosphere, Animal Kingdom is also immediately reminiscent of another gorgeously produced and crafted film, 'Lantana' – both creations careful to put characters and acting in line with taut photography and pace.

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Bad Lieutenant: Port of Call New Orleans

Bad Lieutenant: Port of Call New Orleans
Werner Herzog's Bad Lieutenant: Port of Call New Orleans follows rogue detective Terence McDonagh (Nicolas Cage) in post-Katrina New Orleans. After injuring himself on the job, Terence becomes hooked on drugs to deal with the pain. This growing addiction soon leads to him breaking the law in increasingly brazen and dangerous ways in order to feed his habit. Terence's antics threaten to derail the drug-related homicide case he's investigating, while his gambling debts and run-ins with the underworld stand to cost him his life.

Regardless of its (at time of publish) close to 90% "fresh" rating at Rotten Tomatoes, I won't join the bandwagon of Kool-Aid drinkers and hail Bad Lieutenant: Port of Call New Orleans as a black comedy masterpiece or a wickedly subversive work of abstract art that ingeniously pokes fun at not only the conventions of the cop movie genre but also the very conceit of Abel Ferrara's original Bad Lieutenant. No, Herzog's version is just an artful but overwrought mess trying to pass off over-the-top acting and half-baked ideas as some meditation on addiction and excess. The movie starts off as a rather pedestrian police procedural. Hints of Terence's dark side are evident from the opening scene, but it's not until his drug habit and growing debt take hold of him that he (and the actor playing him) becomes truly unhinged.

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The Maiden Heist

The Maiden Heist
I notice art in other people’s offices when I visit there and I go to art museums when I have extra time on a business trip. I enjoy my art and I love the inspiration I get from taking in other people’s art. Museums are wonderful places.

To be a museum security guard must be the most boring job in the world. Have you watched the men and women that stand around in art museums, in uniforms, ties, quiet, alone, never talking to others unless asked by a visitor for directions to the bathroom, mostly? I cannot imagine doing a single 8-hour-shift of this, except the first one, and perhaps the second and third one, until I was done looking at all the art.

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Obsessed

Obsessed
I’d like to call Obsessed a miserable failure, but that would imply this lazy waste of time had some sort of goal it failed to reach. It has nothing. No purpose, no drive, no direction. It just shiftlessly ambles forward buoyed by the assumption everyone will stop to watch a catfight, especially one involving Beyonce Knowles and Ali Larter. I did stop to soak it all in, a few million others will likely do the same, but like me, they’ll leave marveling a movie can feel so empty, useless and pathetic.

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Chorus

Chorus
The Chorus is one of those feel-good stories that Miramax Films has become expert in importing. This one is the French equivalent of Mr. Holland's Opus - the inspiring story of how a teacher comes to change the lives of his headstrong students. A popular theme not always done with music (think Dead Poets Society, Dangerous Minds, and The Emperor's Club, to name a few recent examples), this kind of movie often treads a dangerous line between effective drama and overblown melodrama. Fortunately for viewers of The Chorus, it mostly hits the right notes. Either that, or the fact that it's in French dulls the manipulation.

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Open Range

Open Range
Whatever his faults as a filmmaker may be, Kevin Costner certainly understands the Western. Although Open Range is not on the same level as Dances with Wolves, it's a respectable effort that is only slightly marred by the unnecessarily protracted denouement. This is a great two-hour motion picture. Unfortunately, it runs 20 minutes longer than that.

Like most recent Westerns (not that there are an abundance to choose from), Open Range belongs to the "revisionist" category, which is to say that it turns some of the Western conventions upside down. In this film, it's pretty clear who the protagonists are, but they're not morally upright gunslingers wearing white hats. They have pasts that haunt them, and aren't beyond killing for a less-than-pure motive like revenge. Also, the centerpiece gunfight is as chaotic, unpleasant, and gritty as anything ever committed to film. This isn't two people facing each other on a deserted street with tumbleweeds blowing around. It's quick, brutal, and bloody.

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Abyss
James Cameron is widely viewed as being one of the most difficult and demanding directors, due in large part to the powerful streak of perfectionism that defines his filmmaking. Cameron's most difficult and contentious shoot to date has been The Abyss - a logistically nightmarish experience that frayed the nerves and tempers of cast and crew alike. Cameron completed The Abyss behind schedule and over budget, and the theatrical version is generally regarded as the weakest and most disappointing of the director's six major efforts (the other five: The Terminator, Aliens, T2, True Lies, Titanic). Had the 140-minute cut released into multiplexes on August 9, 1989 been the final word, The Abyss would be a mostly forgotten footnote on Cameron's resume. However, some three years after The Abyss made its debut, the director was provided with the wherewithal to produce an Extended Edition. Incorporating about a half-hour of deleted material, the Extended Edition repaired many (although not all) of the theatrical cut's glaring problems, resulting in a greatly enhanced viewing experience. Today, although both versions are available, I don't know anyone who would choose to watch the theatrical release over the expanded home video one.

Although the neutering of the climax played a part in the movie's initial lukewarm reception, that was not the only issue. Expectations were also a factor. Cameron's two previous features, The Terminator and Aliens, had been high octane thrillers with technologically advanced villains and rousing climaxes. Although there's plenty of action in The Abyss, coupled with a fair share of tension, the "bad guy" is nothing more frightening than a psychotic Navy SEAL (played by Michael Biehn). The aliens are largely decoupled with the action and, when they make an appearance at the end, it seems to be almost an afterthought, and their introduction recalls E.T. and Close Encounters. (This is fixed in the Extended Edition, but more about that later.) The film made about $54 million - a total that was ultimately profitable but disappointing (Star Trek V, released the same summer, made just a fraction less). Compared to Batman, The Abyss was the black hole its title implies.

The Abyss begins with the kind of opening scene guaranteed to capture an audience's attention. The nuclear sub USS Montana encounters unexpected trouble while patrolling near the Cayman Trough and becomes disabled. The military, facing rising tensions with the Soviet Union, are anxious to mount a search-and-rescue mission before the U.S.S.R. can go looking. The best and quickest option is to use Deepcore, a privately owned oil platform resting on the ocean floor near the abyssal trench, as the base for the operation. This is not well received by the captain of the platform, Bud Brigman (Ed Harris), but he is overruled by management. A team of Navy SEALS, commanded by Lt. Coffey (Michael Biehn), dive down to Deepcore, accompanied by Lindsey Brigman (Mary Elizabeth Mastrantonio), the designer of the station and Bud's estranged wife.

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Dangerous Beauty

Dangerous Beauty
Dangerous Beauty is a lavish historical melodrama that has enough suds, sex, and flashes of flesh to appeal to soap opera-lovers and enough substance to attract those of a more intellectual bent. However, while the movie does more than pay lip service to themes of female empowerment and religious intolerance, the main focus is the kind of hopeless, star-crossed romance that gave Wings of the Dove flight. How do two young lovers, separated on their social terrain by a gulf of wealth and power, reconcile the hot reality of their passion with the cold truth that they can never marry?

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Fantasia 2000

Fantasia 2000
Comparing Fantasia 2000 to the original Fantasia is in some ways unfair, especially considering the way movie-going methods and tastes have changed over the past six decades. Yet, even though the hand-drawn animation has been helped along by the latest in computer imaging and the running length is considerably shorter, the two movies have the kind of kinship one would expect from motion pictures under the same umbrella. Fantasia aficionados may not view Fantasia 2000 in the same way as the original (creatively, it is clearly a step down), but they will surely appreciate what the filmmakers have accomplished.

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In the Line of Fire

In the Line of Fire
In 1963, Frank Horrigan was among the "best and brightest" of the Secret Service, the personal choice of President Kennedy. On November 22 in Dallas, an afternoon that Horrigan will never forget, he became one of the few living agents to lose a president. Now, decades later and only months before a presidential election (perhaps 1992 or 1996 - we're never told exactly), Mitch Leary (John Malkovich) is stalking the President. Believing there to be an intangible bond between himself and Horrigan (he says they were both betrayed by a government they had once loved), Leary makes contact with the Secret Service agent to discuss his intentions. Following his conversation with the potential killer, Horrigan acts quickly to get himself posted to protection duty. This time, he has no intention of failing and believes that, given the opportunity, he will take the bullet. But Leary has everything on his side -- time, opportunity, and a group of pig-headed behind-the-scenes men at the White House who refuse to alter the President's itinerary no matter how grave the apparent danger is. And, as the election draws closer, Horrigan's chances of averting a second tragedy seem progressively less likely.

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Breaking the Waves

Breaking the Waves
According to writer/director Lars von Trier, Breaking the Waves is "a simple love story", but "simple" hardly begins to describe this deeply disturbing, multi-layered drama. In fact, nowhere is the picture's complexity more evident than in its study of contrasts -- it is highly spiritual yet anti-religious, triumphant yet tragic, and personal yet universal. Love forms the film's core, but rather than approaching the subject from a cliched perspective, Breaking the Waves examines no less than six facets of the emotion: transformative love, sacrificial love, redemptive love, destructive love, romantic love, and sexual love. And, despite a slightly disappointing conclusion, this movie still rates among the best of the year.

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The Postman Always Rings Twice

The Postman Always Rings Twice
James M. Cain's novel received its first authorized screen treatment in this MGM production. Drifter Frank Chambers (John Garfield) takes a job at a roadhouse run by slovenly but likeable Nick Smith (Cecil Kellaway). Nick's sexy young wife Cora (Lana Turner) takes an immediate liking to Frank, but he senses that she's trouble and he keeps his distance--for a while, anyway. Inevitably succumbing to Cora's tawdry charms, Frank enters into her scheme to murder Nick and claim the old boy's insurance money.

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Monument Ave. aka Snitch

Monument Ave. aka Snitch
Bobby OGrady is a low range member of Boston Irish gang run by Jackie OHara. Jackie demands absolute, total loyalty for him. When Jackie kills one of Bobbys buddies, Teddy, Bobby and others have to keep it an absolute secret, even from their and Teddys relatives.

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Mr. Baseball

Mr. Baseball
Although a one-time MVP for the New York Yankees, Jack Elliott is now on the down side of his baseball career. His batting average is low and one of his few claims to fame is that during the previous year, he led the team in 9th inning doubles in the month of August. With an up and coming slugger ready to replace him, he learns that hes been traded to the Chunichi Dragons of the Japanese Central baseball league. Elliott is set in his ways and quite inflexible, not only in accepting Japanese culture in general, but also with the way the baseball team is managed. When he meets his very pretty PR agent, Aya Takahashi, he begins to gain a greater appreciation that he should accept his current situation. When he realizes her other connection to the team, his attitudes begin to change at an even greater pace

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New in Town aka Chilled In Miami

New in Town aka Chilled In Miami
A high-powered consultant in love with her upscale Miami lifestyle is sent to a middle of nowhere town in Minnesota to oversee the restructuring of a blue collar manufacturing plant. After enduring a frosty reception from the locals, icy roads and freezing weather, she warms up to the small towns charm, and eventually finds herself being accepted by the community. When shes ordered to close down the plant and put the entire community out of work, shes forced to reconsider her goals and priorities, and finds a way to save the town.

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