Movie Review May December

May December (2023) 

Directed by Todd Haynes

Written by Samy Burch 

Starring Natalie Portman, Julianne Moore, Charles Melton, D.W Moffett, Piper Curda 

Release Date November 17th, 2023 

Published November 15th, 2023 

A few days ago I watched David Fincher's new movie The Killer and I was left wondering if that film was intended to be a comedy. Not a traditional comedy mind you, rather a David Fincher comedy. A David Fincher comedy finds humor in a way that is far from typical comedy. It's a humor that either you get it or you don't and the filmmaker doesn't particularly care whether you understand the joke or not. It's a puzzling movie, to say the least. Now, I find myself watching another movie by another famously particular auteur and having the same question: Is this comedy? 

Todd Haynes' new movie, May December, starring Julianne Moore and Natalie Portman tells a story that would not, on the surface, seem appealing to Haynes' particular type of movie. The film tells the story of an actress, played by Portman, who travels to Savannah, Georgia to meet the real life woman that she is set to play in a new movie. That woman is played by Julianne Moore and some 30 odd years earlier, she went to prison after she had an affair and a baby with a 13 year old boy, played as a grown up by Harry Melton. 

If this scenario sounds familiar, you probably grew up in the 1990s and you recall the story of Mary Kay Letourneau, a teacher who was caught having sex with a 13 year old student named Vili Fualau. She was arrested and convicted of statutory rape. She became pregnant before heading to prison and went on to marry her much younger baby daddy when she was in her mid-30s and he was only 18 years old. The couple stayed together for over 20 some years before ending their marriage just before Letourneau passed away in 2020. 

That kind of trashy, tabloid story would not appear to suit the man who made such elegant movies as Carol and Far From Heaven. That said, both of those movies are about tearing away the blinders that many choose to wear regarding the America of the 1950s and 60s to reveal the trashy, ugly, and awful core that many Baby Boomers, and their parents, would like to forget. In this case, Haynes applies his talents to a story from the 1990s and he's pulling back the veil on a story we'd all put behind us and tried to ignore. We'd all made up our minds about Letourneau and her teenage victim, she was the older person in the relationship and bore responsibility for it. 

Haynes doesn't try to change or complicate our memory but he does appear to add some texture and nuance to it. While we laughed at late night jokes at the expense of Letourneau in the 1990s there was a real person there and she did go on to marry her victim. What was that about? Is this a love story? Or is it something more sinister, a case of grooming that was so pervasive in the public that we collectively tried to ignore the fact that it didn't actually end when Letourneau went to prison. The story continued, she married her victim, they had more children and we all turned away to search for the next big scandal. 

Find my full length review at Geeks.Media 

Classic Movie Review The Fugitive

The Fugitive (1993) 

Directed by Andrew Davis 

Written by Jeb Stuart, David Twohy 

Starring Harrison Ford, Tommy Lee Jones, Julianne Moore, Selma Blair, Joe Pantoliano

Release Date August 6th, 2023

Published August 7th, 2023 

The story behind the movie The Fugitive is much crazier than I would have ever expected. The movie is so tight and so uniquely performed, I assumed that it must have been a terrifically assembled piece of work behind the scenes. Then, I read an incredible thread on Twitter from a user named @ATRightMovies. This person lays out a behind the scenes story that, on the surface, you would assume led to the creation of a complete disaster of a movie. Script problems, a star who was halfheartedly interested in making the movie, and assumptions on the set that everyone was making a bad movie, somehow led to the creation of a film that was nominated for 7 Oscars, with one Oscar win. 

The Fugitive is based on a popular 1960s television series starring David Janssen as Dr. Richard Kimble, a man wrongly accused of murdering his wife. Harrison Ford takes on the role of Dr. Kimble in the movie which finds him returning to his well appointed home to find a one armed man had assaulted and murdered his wife (Sela Ward). Kimble fought the one armed man but he managed to mistake. When Police arrived, they found Dr. Kimble covered in his wife's blood, he'd tried to perform CPR and ended up clutching her dead body in his anguish over her death. 

The blood and Kimble's story about a one armed man are too much for the Chicago Police Investigators to buy. They arrest Kimble and charge him with murder. Found guilty, Richard is facing life in prison when fate intervenes. While being transported to a Federal Prison, other inmates on the transport initiate a plan for escape. They attack and stab a guard, the driver of the bus is shot and killed, and the bus crashes on train tracks. In a spectacular sequence, a train is headed toward the bus on the tracks. Kimble picks up the injured officer and saves his life. Then, in a moment that has been shared among the best action sequences of the past 30 years, Kimble leaps from the broken bus seconds before the train strikes it, leading to a train derailment. 

Read my full length review at Geeks.Media

Movie Review The Lost World Jurassic Park

The Lost World Jurassic Park (1997) 

Directed by Steven Spielberg 

Written by David Koepp 

Starring Jeff Goldblum, Julianne Moore, Vince Vaughn, Pete Postlethwaite 

Release Date May 23rd, 1997 

Published June 12th, 2023 

The Lost World Jurassic Park fails to recapture the magic and wonder of the original. Why? That kind of lightning in a bottle is simply hard to catch a second time. With no Sam Neil, no Laura Dern, and only Jeff Goldblum returning, The Lost World Jurassic Park felt mercenary and obligatory. Someone at the studio backed several brinks trucks worth of cash at Steven Spielberg's door, promised him he could make any movie he wanted, but only if he delivered another dino-blockbuster. Unlike the wide-eyed wonder of Jurassic Park, The Lost World Jurassic Park plays like a market tested blockbuster more interested in reaching four audience quadrants than satisfyingly entertaining the people who made up those quadrants. 

That said, this is Steven Spielberg so the movie isn't as bad as it could be. Spielberg is far too good of a director to make a genuinely bad film. Rather, this is the rare soulless Spielberg effort. It's a Spielberg movie where you can sense his heart isn't completely in it. There is a great visual gag in Jay and Silent Bob Strike Back where the titular heroes visit the set of a Scream sequel. There, we find director Wes Craven not paying attention to directing and instead counting his money and telling his actress, Shannen Doherty, to do whatever she wants. That's how I picture Spielberg except, instead of counting his money, he's paying for a different and far better movie to start production while he occasionally tells his actors to run. 

The Lost World Jurassic Park begins by telling us that billionaire John Hammond (Richard Attenborough) has learned nothing from his Jurassic Park experience. He has another island full of dinosaurs and sees them as his ticket to get his dream of Jurassic Park back on track. Hammond calls upon Dr. Ian Malcolm (Jeff Goldblum) to help him by going to this island and certifying that the dinosaurs are safe and accounted for on this new island. Dr. Malcolm refuses the lucrative offer until Hammond tells him that Malcolm's girlfriend, Dr. Sarah Harding (Julianne Moore), is already on the island. 

Malcolm takes the offer from Hammond but not to co-sign a new park. Malcolm is going to this new island on a rescue mission. Along for the ride are a guide, Eddie Carr (Richard Schiff) and a hotshot photographer, and greenpeace activist, Nick Van Owen (Vince Vaughn). Once on the island, they must try to find Sarah while also trying not to become dinner for the burgeoning new wildlife. Soon after this however, they will find themselves having to compete to save the dinosaurs from Hammond's idiot nephew, Peter Ludlow (Arliss Howard), and a big game hunter played by Pete Postelthwaite. 

The trailer back in 1997 carried a very big spoiler: The dinosaurs, at least one of them, the fearsome T-Rex, is coming to America. Commercials and trailers touted a dinosaur raging through city streets. This revealed further just how mercenary the whole effort was. The T-Rex doesn't arrive in America until the 3rd act and revealing that this dangerous dinosaur was going to rage through the streets of San Diego rather harms any chance of building tension and suspense as to where the movie was going to go. It's a great visual but spoiling it in the trailer made it very clear that The Lost World Jurassic Park was more of a marketing campaign than a movie. 

Read my full length review at Geeks.Media 

Classic Movie Review Benny & Joon

Benny & Joon (1993) 

Directed by Jeremiah S. Chechik 

Written by Barry Berman 

Starring Aiden Quinn, Johnny Depp, Mary Stuart Masterson, Julianne Moore 

Release Date April 23rd, 1993 

Published June 7th, 1993 

When Johnny Depp took on the role of looney romantic hero Sam in Benny & Joon he'd been engaged in a desperate effort to abandon the Teen Beat, leading man personas that Hollywood was attempting to impose upon him. Having become a teen idol on the teen cop show 21 Jumpstreet, Depp found the Hollywood spotlight for too overwhelming and limiting to his talent. Thus he set out to take roles that would defy expectations and reshape his career the way he wanted it. 

This upending of expectations started in 1990 when Depp starred in the wild and wonderful John Waters indie flick, Crybaby. No one in Hollywood wanted one of the biggest heartthrobs in the world to work with John Waters and that's likely part of what drove Depp directly into the embrace of Waters and his wild 50s aesthete and outre humor. That same year, he defied expectations in the mainstream as well with an entirely unglamorous, but slightly more commercial friendly film, Edward Scissorhands. 

Depp took that role specifically because he got to wear a lot of makeup and prosthetics and Hollywood marketers could not market the film based on his looks. This defiance of expectations continued as Depp took 1992 off and rejected high profile roles in blockbuster features. When he did decide to work again, he chose yet another defiantly odd and unconventional role. Despite still being one of the most sought after leading men in Hollywood, Depp accepted a supporting role in Benny & Joon while turning down the leading man role in the eventual blockbuster, Indecent Proposal. 

The gamble paid off as Depp delivers some of his most charming and dynamic work in the role of Sam, even as he's not the leading man. Sam is a wildly unconventional bohemian film lover whose persona is based on silent film heroes such as Buster Keaton and Charlie Chaplin. Depp takes this idea of a character and fills out the character with a mostly silent, terrifically physical performance. It's a role that threatens to be a little too twee, but Depp brings depth to the character by making the most of the few lines of dialogue the character has. 

The Benny & Joon of the title are brother and sister, Benny played by Aiden Quinn, and Joon, played by Mary Stuart Masterson. Benny is the responsible older brother who owns a business and cares for his sister and her unspecified medical condition. Joon is an artist who is prone to manic episodes, depression, and jumble of other mental health afflictions that seem to indicate that she suffers from either Schizophrenia or is merely on the autism spectrum. It's a bit nebulous but the film is delicate about Joon's condition which helps keep it from being overly problematic. 

Find my full length review at Geeks.Media 

Horror in the 90s Tales from the Darkside

Tales from the Darkside: The Movie (1990) 

Directed by John Harrison

Written by Michael McDowell, George A. Romero 

Starring Debbie Harry, Steve Buscemi, Julianne Moore, Christian Slater, James Remar, Rae Dawn Chong

Release Date May 4th, 1990 

Box Office Gross $16.3 million

Why don't more people talk about how great Tales from the Darkside The Movie is? I've seen Tales from the Darkside The Movie a few times but somehow, it wasn't until this viewing that it really clicked for me. This anthology of three horror movies, and one wraparound segment, combines the talents of Stephen King, George Romero and a powerhouse cast, across four stories, to deliver one of the most consistently entertaining horror movies of the 1990s. 

Let's begin with our wrap-around story. Tales from the Darkside: The Movie opens on a peaceful suburban milieu. A lovely looking woman has purchased groceries and is returning home to start dinner for a dinner party. This is classic horror movie stuff as perverting the pristine perfection of suburban life is a classic trope. The first signs of such perversions of norms only arrives once we are inside the home of that plain Jane woman and her groceries. 

We arrive in the home of Betty, played by rock icon Debbie Harry, before she does. While she's getting her groceries, the camera takes us into her home and a strange looking broom is propped against a wall. While we puzzle over the broom, which brings to mind a witches broom, we begin to hear a noise. The camera slowly reveals a door in the kitchen and someone struggling to open the door before fearfully retreating when Betty comes inside. The skillful visual filmmaking tells us everything we need to know, Betty is a witch and whoever is in that locked pantry, is her prisoner. 

Perverting things even further, Betty soon reveals her victim, tiny moppet with floppy hair and a crooked grin. This is Timmy (Matthew Lawrence) and we soon learn that Timmy is set to be that night's main course as Betty is bringing her witch friends over for a Timmy casserole. In a desperate attempt to keep himself alive, Timmy grabs a story book called Tales from the Darkside and offers to tell Betty a scary story as a reason to keep him alive. She agrees and we proceed with our first terrific story. 

The most star-studded of our three stories was not quite so star-studded at the time of release. Lot 249 stars a pair of stars before they became big stars. Steve Buscemi and Julianne Moore were at the beginning of what would be lengthy and critically acclaimed careers when they played academic rivals in Lot 249, the story of a man and his mummy. Christian Slater, already having become a leading man by 1990, is the best known of the cast which is rounded out by lesser known character actor Robert Sedgwick. 

Lot 249 is a tale of revenge as Edward Bellingham (Buscemi) is convinced that a rich idiot, Lee (Robert Sedgwick), has used his influence, and his equally rich and duplicitous girlfriend, Susan (Moore), to steal a lucrative scholarship from him. The loss may force Bellingham to have to leave school just as he is on the verge of an astonishing breakthrough in his research on ancient Egypt. Through nefarious circumstance, Bellingham has secured Lot 249, an ancient Egyptian sarcophagus that could be worth millions, depending on what he finds inside. 

Find my full length review at Horror.Media 

Movie Review: Blindness

Blindness (2009) 

Directed by Fernando Meierelles

Written by Don McKellar

Starring Mark Ruffalo, Julianne Moore, Alice Braga, Danny Glover, Gael Garcia Bernal

Release Date October 3rd, 2009 

Published October 10th, 2009 

Fernando Meierelles is an infinitely talented director whose features City of God and The Constant Gardener are breathtaking exercises in visual dynamism and urgent storytelling. It leaves one utterly baffled then to find Meirelles the director of Blindness; a dreary, sluggish horror story that features a plague nearly as curious as M. Night Shyamalan's evil oxygenating trees in The Happening.

Julianne Moore and Mark Ruffalo lead a diverse cast as a husband and wife. The husband is an opthamologist who is suddenly stricken blind. The previous day he had seen a patient who suffered the same affliction. Now the doctor is blind and so is his secretary and each of his patients. His wife however keeps her sight even as she joins her husband in a mass quarantine of people suddenly having been struck blind.

In the quarantine building, the blind are herded like cattle and kept like prisoners. The internal society starts off as expected, frightened but peaceful. Then chaos sets in. A despotic young man played by Diego Luna gets a hold of a weapon and takes the food hostage. He doles out rations in exchange for first jewelry and then sexual favors.

Meirelles observes these events with a bizarre distance, as if the chaos onscreen were an expression of his chaotic mindset. Even the director seems uncomfortable with the actions of his characters. This impression comes in the way Meirelles films the action through either too much darkness or too much light. If the director himself doesn't have the stomach for his action, how can he expect that of the audience?

This is the part of the review where I talk about the elements of the movie you might find most appealing beyond the premise and the technical creation that is the film. Unfortunately, Blindness is one of those rare movies where there really isn't anything appealing. Fernando Meirelles has crafted a thriller without thrills, a parable without underlying meaning. A sloppy, slow moving, dreary slog to a meaningless meandering ending.

What could I possibly recommend about that?

Julianne Moore and Mark Ruffalo are exceptionally talented people who no doubt were excited to work with a director of Meierelles' resume. That resume likely blinded them to the quality of Blindness, a mind numbing bore of a movie with less hope and exhilaration than even Eli Roth's lowest work. Rapes to murders to people defecating in the halls in service of a go nowhere plot, Blindness is a singularly horrific movie.

Movie Review: Chloe

Chloe (2010) 

Directed by Atom Egoyan

Written by Erin Cressida Wilson

Starring Amanda Seyfried, Julianne Moore, Liam Neeson

Release Date March 26th, 2010

Published March 30th, 2010

“Chloe” is one of the most frustrating films I've seen in a long time. Rarely has such skilled direction been wasted on such B-level material. Atom Egoyan is a master of mood and feeling brilliantly pushing an audience’s buttons; manipulating them into uncomfortable places and toward often stunning revelations.

He brings his skill for mood to “Chloe” and for two acts his mastery of sex, seduction and character has you hooked. Riveting performances by Julianne Moore and Amanda Seyfried tease seduce and shock and keep you guessing just how this movie could possibly end. Then the third act begins and things are downhill from there. What should have been an adult thriller quickly devolves into a highly skilled Cinemax late night trash.

Catherine Stewart (Julianne Moore) is desperate. She believes her husband, David (Liam Neeson) is cheating on her. Finding a damning photo of David while she is snooping through his I Phone, Catherine decides she needs definitive proof. To get it Catherine turns to a young woman she has seen in the neighborhood near her medical practice.

The young woman is Chloe (Amanda Seyfried) and it is clear from her manner with men and her unusual hours that she is a high end call girl. Catherine hires Chloe only to flirt with David and recount his reaction. Chloe takes things further than mere flirting but rather than being angry, Catherine finds herself turned on. This twisted scenario only grows more twisted from there as Catherine herself begins an affair with Chloe.

You get from the plot where this is likely heading but early on Atom Egoyan and writer Erin Cressida Wilson brilliantly create an atmosphere, a look, a sensuality that distracts from anything familiar. There is an air of desperation and sex that permeates Chloe in the first two acts that is truly sexy, not merely trashy. The sex is purposeful and erotic without being trashy.

Then comes the third act and things go off the rails. Though Atom Egoyan never loses his incredible gift for atmosphere he and writer Ms. Wilson fail to invent a satisfying conclusion for Chloe. Instead the film devolves from a smart, sexy and daringly adult thriller into a high end version of a direct to video soft-core porno. 

The final scenes of Chloe fly close to parody, so close that one could almost make the case that the ending is a satire of B-movie thrillers. However, there is far too much artfulness in Egoyan's direction and far too much skill from the dedicated cast for anyone to assume satire, unfortunately. 

Amanda Seyfried and Julianne Moore are an electric duo in Chloe. Seyfried, long an object of girl next door fantasies, finds a range and depth like she's never shown before. Pushed by the unbelievably talented Ms. Moore, Seyfried radiates sex so strongly that you can hardly blame a married woman for falling prey to her. Ms. Moore is no victim in Chloe mind you; her submissiveness is really an act of passive aggression that few actresses could achieve.

”Chloe” is so disappointing because I like so much of it. Atom Egoyan's direction is solid and the script from Erin Cressida Wilson, for the first two acts, is very strong. The failure comes in finding an ending that satisfies. I won't spoil it for those who still wish to see this highly erotic and often quite good thriller, but be prepared for a letdown. 

The very last scene in “Chloe” is among the most awkward and oddly humorous that I have seen. It may just be my twisted sense of humor but the seriously awkward mother son bond that comes in the final act will certainly have psychiatrists buzzing afterwards. 

Finally, you may have noticed that I had little to say about Liam Neeson in “Chloe.” Neeson lost his wife Natasha Richardson while shooting “Chloe.” He left midway through production to be at her side and returned just days after her death to wrap his role. According to IMDB Neeson's scenes were cut back to accommodate his leaving and his grief. Under the circumstances Neeson is quite good in “Chloe” but there is little that one can say about an actor working under such a circumstance.

Movie Review: Children of Men

Children of Men (2006) 

Directed by Alfonso Cuaron

Written by Alfonso Cuaron

Starring Clive Owen, Julianne Moore, Michael Caine, Chiwetel Ejiofor, Charlie Hunnam

Release Date December 25th, 2006

Published December 24th, 2006

Alfonso Cuaron has said that his latest film, the futuristic thriller Children Of Men, is an allegory to our times. A warning of problems to come if we continue on our current path. The film alludes to ideas about immigration policy, war in the middle east, terrorism and death with dignity. These ideas are introduced but none are given great weight. It's as if just mentioning these hot button issues is enough to bring importance to a movie that is otherwise a chase thriller with an interesting premise.

The fact is,Children Of Men is not about its story or characters. Children Of Men is about director Alfonso Cuaron and his ability as a director. Using long, unbroken takes and some dazzling cinematography, Cuaron impresses with style and technique but does so at the expense of his story.

In 2027 woman haven't given birth in nearly 20 years. The world's youngest person, an 18 year old, has been killed and chaos reigns throughout the world. England is the last hold out of civil order, though the chaos is banging at the door. Immigrants from around the world have attempted to immigrate causing the government to round up foreigners and place them in camps. Those who fight are killed, those who don't are sent back to the chaos and famine of their home countries.

In the midst of the tumultuous times a former activist named Theo (Clive Owen) is slowly drinking himself to death. Having lost his own baby son more than a decade and a half ago, as well as his wife, Theo has given up. His ex-wife Julian (Julianne Moore) has not. Now the leader of an insurgency, Julian has come to the aid of an immigrant teenager, Kee (Claire Hope Ashitay) who holds the future of humanity.

Kee is; by some miracle, pregnant and Julian knows she can't protect her. Turning to Theo for help, she leaves it to him to take Kee to a utopian group of scientists and thinkers called the human project where it's hoped her pregnancy can reveal the key to saving humanity.

That is what I could make of the plot of Children of Men, a movie that is more style than substance. Director Alfonso Cuaron claims the film is an allegory to modern times however, his metaphors are shallow and underserved. This alarmist tale of government oppression and societal crumbling has a dark vision of the future that is supposed to be a warning of things to come and a comment on how things currently are but it fails to be convincing in either metaphoric conceit.

Children of Men is not an allegory, it is rather a movie about how the action is filmed and not why the action is taking place. Working with super long takes, Cuaron uses his camera in unbroken scenes that traverse big action movie chases and war scenes without a single edit. It's an impressive technical achievement. It's also an extraordinarily showy exercise. Like a dog begging for attention, the filmmaking tricks of Children of Men sit up, beg and roll over.

The worst thing about Children of Men is how cheap and manipulative the plot is. Of course, all movies are manipulative. However, the best movies allow you to suspend disbelief and forget you are being manipulated. Children of Men uses a cheap screenwriting trick, the child in danger plot, to manipulate audiences into feeling tension that the adult characters and the plot they are trapped in cannot.

I will grant you that much of the technological trickery employed by Alfonso Cuaron is so good that you can forgive much of the very shallow plot. The extended, unedited takes are compelling visuals that you can't help but marvel at. Also, I was surprised how visually impressive the film is without Cuaron's usual flourishes of color. In his Great Expectations, Y Tu Mama Tambien and Harry Potter, Cuaron's visuals overflowed with color. Children of Men goes in the opposite direction, desaturating the screen leaving a gray, light green hue that is as effective as his use of bright colors in previous films.

The color palette matches the mood of the film. Gloomy and oppressive and while that doesn't sound appealing, in execution and as part of this story, the color palette is visually engaging.

Another appealing element of Children of Men is the star performance of Clive Owen. No actor embodies weariness the way Owen does. Look at his roles in I'll Sleep When I'm Dead, Closer and Sin City, no actor looks more tired or beaten up by the world as Owen. His gloom ridden role in Children of Men was made just for him.

The character of Theo has lost everything when we meet him. He can barely muster the energy to not give a damn. Watching him come back to life as he helps Kee escape is appealing for the way Owen plays it, even if the rest of the movie is not interested in character development. Owen and the rest of the cast of Children of Men were on their own trying to bring their characters some life while Alfonso Cuaron focused on unique ways to shoot them.

Children of Men is a technical marvel. Alfonso Cuaron and cinematographer Emmanuel Lubezki dazzle us with camera work, lighting, settings and chases and the films centerpiece, long unbroken takes. Dazzled we are but the technical brilliance can't disguise a shallow thriller plot clothed in faux importance. Saying your movie is important in metaphor is one thing, actually being important is another.

Movie Review Next

Next (2007) 

Directed by Lee Tamahori

Written by Gary Goldman, Jonathan Hensleigh

Starring Nicolas Cage, Jessica Biel, Julianne Moore, Peter Falk 

Release Date April 27th, 2007

Published April 26th, 2007 

Has any writer's work been more abused by Hollywood than Philip K. Dick's work? Sure Shakespeare has been tortured and Stephen King has condemned some of the adaptations of his work but Dick, it seems, has been truly beat up in the adaptation process. For every Minority Report there is a Paycheck. For every Blade Runner, which was tortured in many ways before emerging a cult classic, there is an Imposter.

Now comes Next; an adaptation of Dick's short story The Golden Man. Starring Nicolas Cage as a Vegas lounge magician, Next abuses Dick's sci fi conceits for yet another dull witted, wide appeal, sci fi knock-off.

Frank Cadillac (Nicolas Cage) is a C-list Vegas lounge act. Using his real life ability to see two minutes into the future, Frank, real name Chris Johnson, dazzles out of town rubes by predicting the unpredictable. Chris is attempting to hide the fact that he is clairvoyant by pretending to be clairvoyant, he's worried if someone finds out they may force him to use his gift for ill-gotten gain.

The FBI, led by Agent Callie Ferris (Julianne Moore), seems to have discovered Chris's secret. They want to capture him and use his gift to prevent a group of terrorists from exploding a nuclear weapon on the West Coast. How seeing two minutes into the future could be helpful is a question the film has an answer to but by the time it gets to it you will be rolling your eyes too much to catch it.

While Chris is using his gift to elude the FBI as well as the terrorist baddies, he finds his gift extending beyond just two minutes when he is with Liz (Jessica Biel), a beautiful stranger who Chris is convinced is his soul-mate. The two begin a tentative romance and together decide whether to help the cops or keep running away.

Next was directed by Lee Tamahori who may be best known for his non-directorial exploits. For those not in the know, the director of Die Another Day and XXX 2 was arrested in 2006 for solicitation. No he wasn't seeking a sex worker, he was the sex work, Tamahori was arrested in full drag. This has nothing to do with Next, it just makes me giggle as much as anything in the goofball action of Next.

The most notable thing about Next is Nicolas Cage's latest follicle debacle. The obviously balding Mr. Cage goes for long hair in Next and well, Nic.. long hair in back, balding in front, not a good look. Beyond the hair, Cage delivers a zombie-like, sleep walking performance ala his work in Family Man or National Treasure. Next isn't quite as bad as Cage's work in The Wicker Man but at least in that bad movie, Cage was awake and engaged.

Poor Julianne Moore. I hope she was paid well for her soul. The former Oscar nominee has made worse films than this, she is in Freedomland for god's sake, and yet she still seems to have too much dignity and class for such trash as Next.

Jessica Biel, on the other hand, is becoming right at home in this type of throwaway, popcorn trash. If you don't believe me, go rent Stealth. Yes, she was very good in last year's surprise hit The Illusionist but the rest of her resume is an ugly mixture of eye candy roles in straight to video features all of which seem to be a silent rebuke of her goody two shoes breakthrough on TV's Seventh Heaven.

One is left to wonder what happened to the family of Philip K. Dick. Do they have no control over what happens to Mr. Dick's work in Hollywood? Are they so greedy that they just don't care? Whatever the reason, it's sad how little care anyone has taken with his work. Philip K. Dick is the sci fi voice of a generation. A man who; seemingly saw the future himself and dramatized it. To watch his legacy trashed by one hack filmmaker after another is a real shame and Next is just the latest and likely not the last example.

Movie Review The Hours

The Hours (2002) 

Directed by Stephen Daldry 

Written by David Hare 

Starring Nicole Kidman, Meryl Streep, Julianne Moore, Ed Harris, Toni Collette, Claire Danes 

Release Date December 25th, 2002 

Published December 29th, 2002 

One of the first things I wrote when I started writing for this site was a column lamenting the lack of good roles for women. At that time, the majority of lead roles for women were still in service to male characters. However, in the second half of 2002, something happened and the trend began to reverse. Strong roles for women like those featured in The Good Girl, White Oleander and Secretary showed great progress. Now, with Stephen Daldry's The Hours, we have not one great role for a woman, but three: Three sensational roles for three sensational actresses in one excellent movie.

Three women over three generations are united by one book written by one of the characters. That character was a real person, writer Virginia Woolf, played by Nicole Kidman. Her book, "Mrs Dalloway," is read by both Julianne Moore's 1950's housewife Laura Brown and Meryl Streep's modern day Clarissa Vaughn.

Laura Brown is a troubled housewife whose troubles are written on her face. Her every action seems slowed by depression. Everything, including her interaction with her young son, seems to be affected by her depression. After seeing her husband off to work, a neighbor played by Toni Collette stops by for a visit that shows Laura what life might have been or what Laura really wanted in her life. The scene illustrates Laura's connection to the book "Mrs. Dalloway" as it demonstrates the dilemma that also haunted Virginia Woolf's literary creation--choosing the safe route of marriage over the adventurous life with a lover.

In the modern story, Meryl Streep's Clarissa Vaughn is planning a party for an ex-lover played by Ed Harris. Now dying of AIDS, Harris' character entertains thoughts of suicide as he comes to realize how close to death he is. He has called Clarissa by the nickname Mrs. Dalloway for years and now, in an ironic twist that mimics the classic book, Clarissa plans a party and her poet friend is planning his death. The characters are aware of the parallels but only Harris' character accepts his fate.

The third story is that of Virginia Woolf played by Kidman. We watch as Woolf, whose mental health problems are well documented, creates her masterpiece "Mrs Dalloway." Forced by her husband to live in a quiet, suburban, England country house, Woolf longs for the lively nature of the city. Attended by doctors on a daily basis, Virginia's only sanctuary lies in her writing. The fate of Virginia Woolf, much like her troubled life, is well known. If you don't know how she died, I will leave the mystery. Her death is dramatized in The Hours in a powerful scene that bookends the film.

In an unusual way, The Hours reminded me of Adaptation, in that a writer writes another writer into his screenplay. Then, the actions of the book are played out in the film and (not literally) the actions of the book unfold onscreen.

Director Stephen Daldry, working from a script by David Hare and the book by Michael Cunningham, creates a film of great emotional and intellectual power. While "Mrs. Dalloway" has been adapted for the screen before, the film shows what a truly special work it is. The film manages to communicate just how powerful and effective the book is without literally translating it. The Hours is a brilliant, remarkable film.

Movie Review: Far From Heaven

Far From Heaven (2002)

Directed by Todd Haynes 

Written by Todd Haynes

Starring Julianne Moore, Dennis Quaid, Dennis Haysbert, Patricia Clarkson, Viola Davis, George Clooney

Release Date November 8th, 2002

Published December 24th, 2002

The 1950s is bathed in that Donna Reed/Leave It To Beaver sheen that seems, to irony, impenetrable. The earnestness and honesty of the times is anathema to our current state of affairs. Not that I would prefer the constricted fifties to our open society, rather, I'm merely illustrating the differences that are in conflict in Todd Haynes 50s era drama Far From Heaven, which attempts to openly comment on modern social issues while maintaining the earnestness of its time period. It is a balancing act that ends up in mixed results at best.

Inspired by the works of fifties era hauteur Douglas Sirk, Far From Heaven is a domestic drama that casts Julianne Moore as mother and housewife Catherine Whitaker. Living in the perfect suburb with her perfect children, home and lifestyle, Catherine is the Donna Reed-like ideal 50s woman. Perfect to the point that she and her husband are cast as the perfect couple in an advertisement for her husband's TV manufacturing company. So perfect that a local reporter profiles her as the womanly ideal.

However, cracks are beginning to show. Catherine's husband Frank continually arrives home later and later from work. Then, as Catherine waits for Frank to arrive home to escort her to a party, she is called to the police station to bail him out. She never questions why Frank was in jail; he claims the officer mistook him for the real criminal. The cracks become a huge gaping hole when Catherine decides to deliver dinner to a late working Frank and finds him in flagrante delicto with another man.

Rather than risk her perfect life, Catherine is very forgiving of Frank, escorting him to a psychiatrist where he hopes to be cured of his "affliction." So how does Catherine deal with her emotions? Rather than confide in her closest friend, played by Patricia Clarkson, she takes solace in the kind ear of her new gardener a black man named Raymond Deagen. The attraction isn't overtly sexual; at first, it is friendly and supportive and, slowly, an undercurrent of passion develops that both are fearful of exploring. Especially after a neighbor begins gossiping about the relationship.

Writer-director Todd Haynes is extremely faithful to his period and anyone who has flipped past Turner Classic Movies will recognize from the title sequence, the score by Elmer Bernstein, all the way to the closing credits, the look of the 50s dramas that were actually made in the 1950s. It is really remarkable but also troublesome. Haynes is so successful in his homage that it almost becomes comical, a parody.

The film deals with serious issues in the same ways that the movies that influenced it did, but far more overtly. Films of the 50s couldn't portray overtly homosexual characters or interracial romances, so commentaries on those topics were done through complicated metaphors that are still being discovered today. It is here that Haynes' freedom to portray these issues openly betrays him. Far From Heaven doesn't have the benefit of the mystery of metaphor that was invoked by the films that influenced it.

Julianne Moore gives a fine performance but, at times, only her natural warmth and audience credibility save the character from drifting into Stepford Wife-like parody. Dennis Quaid, as her closeted husband, has an easier time with his role, which has a natural conflict that allows him to be human from beginning to end (whereas Moore's character is at first required to be a Donna Reed clone and then gradually becomes a realistic character.) Haysbert has the difficult task of being saintly from beginning to end, at times taking on an almost beatific air. How a character in his situation could so naively wander from scene to scene without conflict is rather unbelievable.

Todd Haynes shows maturity and savvy that are quite remarkable; he has a very bright future ahead of him. Haynes will do especially well if he maintains his team of art director Peter Rogness, cinematographer Edward Lachman and production designer Mark Friedberg, who bathe every scene in the film in beautiful colors. The look of the film is remarkable for its clarity and will look truly amazing on DVD.

Far From Heaven is a good movie, but it is also a movie that cannot transcend its scenery. The 50s setting is a blessing and a curse. A blessing for the palate it provides for the production design, a curse for the faithfulness and attention to detail it seems to require, that cause the film to seem like almost a parody of itself.

Movie Review: The Shipping News

The Shipping News (2001)

Directed by Lasse Hallstrom

Written by Robert Nelson Jacobs

Starring Kevin Spacey, Julianne Moore, Judi Dench, Scott Glenn, Cate Blanchett 

Release Date December 18th, 2001

Published December 17th, 2001 

E. Annie Proulx's bestseller The Shipping News preceded Oprah's book club by a few years but if the film is anything like the book then it would fit Oprah's book club perfectly. The Shipping News is that kind of non-controversial life affirming claptrap that Oprah extols on a weekly basis. The film, adapted for the screen Robert Nelson Jacobs and directed by Lasse Hallstrom, the master of life affirming claptrap, stars Kevin Spacey as Quoyle.

While living a miserable invisible existence, Quoyle is finally noticed by Pedal Bear (yes I said Pedal Bear), played by the lovely Cate Blanchett. Pedal however is not as soft as her name would suggest. She uses Quoyle for room and board while cheating on him. Pedal does manage to have a child with Quoyle, but isn't much of a mother to Bunny, played by the Gainer Triplets Lauren, Kaitlyn and Alissa.

Quoyle is a good father but far too dull for Pedal who continues to run around on him until she is killed in a car wreck. Quoyle and his daughter pick up their lives and leave to live with Quoyle's Aunt Agnis (Dame Judi Dench) in Newfoundland. There, Quoyle gets a job at a local newspaper where he writes the shipping news, a very big deal in the small fishing community.

Scott Glenn is Jack Buggit, the paper's eccentric owner who hires Quoyle despite the fact that Quoyle has no writing experience and while he will be writing about boats, Quoyle hates water. This is supposed to be cute and quirky but it plays as baffling and bizarre. Soon after landing a job he's not qualified for, Quoyle meets the obligatory movie love interest. Her name is Wavy Prowse (yes I said Wavy) (Julianne Moore). Why? I have no idea why. 

Maybe I'm too cynical for this film, or any film with characters named Wavy, Pedal and Bunny. Oh and don't forget Tert (Pete Postlethwaite) the newspapers manager and Beaufeld Nutbeem (Rhys Ifans) the paper’s international writer. Of course Ifans is one of the few actors who could pull off a character named Beaufeld Nutbeem. 

The Shipping News is a typically Lasse Hallstrom movie. It's prosaic and slow though lovely to look at. He's terrific at soft surfaces but even more adept at softheaded narratives with all of the memorable qualities of a barely remembered dream. All of Lasse Hallstrom's films seem to strive for deep meaning but they almost always end up with little more than surface emotion and not much else. I apologize if you are someone who enjoys Lasse Hallstrom's gauzy, bleary, boring movies but I cannot begin to understand why anyone would enjoy them.

I had hoped this film would be a return to form for Spacey after consecutive dull performances in Pay It Forward and K-Pax. Sadly though, Spacey in The Shipping News continues in his dewy-eyed schlep role, no passion, no vigor, nothing of Lester Burnham or Verbal Kint or John Doe. Even Spacey's screen chewing presence in The Big Kahuna is preferable to his recent string of dull losers.

The Shipping News sinks.

Sorry I couldn't help myself.

Movie Review Seventh Son

Seventh Son (2015) 

Directed by Sergei Bodrov

Written by Charles Leavitt, Steven Knight

Starring Jeff Bridge, Julianne Moore, Ben Barnes, Alicia Vikander, Kit Harrington, Olivia Williams, Djimon Hounsou 

Release Date February 6th, 2015 

Published February 5th, 2015

There is a sad and desperate affliction plaguing middle aged Hollywood stars. I’ve come to call it “Nicolas-Cage-Itis.” NCI, as we will henceforth refer to it, strikes when an actor reaches of a level of age and stardom where they are no longer seen as viable leading men but can’t pull themselves from in front of the camera.

The dissonance between their faded place in the pop ephemera and their own perception of their pop mortality clash and a level of madness emerges that leads to making movies of questionable taste and quality. John Cusack, for one, has succumbed mightily to NCI and will in 2015 star in a film project so bereft it likely will never be seen outside of China.

Other actors look on the verge of an NCI flare up, Johnny Depp is perilously close, Keanu Reeves seems to have pulled back from the brink but still could go either way and Tom Cruise is just one batshit crazy sci-fi movie from a full blown case. Sadly, however, the most recent fully diagnosed case of NCI is Academy Award winner and all around good dude Jeff Bridges.

With his “RIPD,” “The Giver,” and “Seventh Son” triumvirate it’s clear Bridges is in the throes of a full on Nicolas-Cage-Itis breakdown. He’s already begun the ‘bizarre accents are why I make movies’ phase of the illness. Soon, he will be experimenting with his hairline and having massive tax problems.

“Seventh Son” was the final piece of the NCI diagnosis. This misbegotten YA adventure movie stars Bridges as a mystical witch hunter named Master Gregory and while you might be tempted to believe Bridges wanted to play a mystical witch hunter named Master Gregory on a lark, it’s clear he chose the role because he was allowed to speak in a manner of his choosing, something akin to Morgan Freeman without teeth.

Yes, the accent is really the only reason Bridges wanted to play Master Gregory. Any director indulgent enough to allow his star to mush mouth his way through an ostensibly teen-friendly blockbuster adventure clearly isn’t asking much of his star. No, Bridges and his star power quite clearly dominate every aspect of “Seventh Son” which means nothing too challenging and only the vaguest sense that anyone gives the slightest damn about the material.

Joining Bridges with her own mild case of NCI is Academy Award nominee Julianne Moore. Bridges’ Lady Friend from “The Big Lebowski” plays a witch that Gregory once loved, then hunted and now hunts again after she escapes from the prison he made her years before. The love story aspect is left thankfully to the willing imagination as the movie is given over to high camp vamping and the chewing of scenery.

It’s difficult to decide what is more dispiriting about “Seventh Son:” Bridges and Moore’s dull, camp excess or the abysmal love story tacked on to their teenage sidekicks. Ben Barnes Barnes and Alicia Vikander play star-crossed lovers, witch-hunter apprentice and witch, respectively, with about as much romantic chemistry as mismatched shelving units. If you need a sense of just how invested the film is in Barnes’ apprentice character, his name is Tom Ward. Tom Ward. “Seventh Son” is set in a world of Witches, Dragons and shape shifting Bears and Leopards and they are battled by a guy named Tom. At least Gregory gets call himself ‘Master.’

“Seventh Son” is an incredibly depressing piece of work. It’s a YA adaptation, it’s dreary and lumbering with about as much wonder and excitement as a trip to the DMV. But, of course, the dreariest of the dreary is watching Jeff Bridges entertain himself. Bridges is playing an elaborate prank that’s only funny for him. He’s fully aware of how ridiculous he looks and sounds but he’s also wildly entertained by it. We, on the other hand, are just hurt that our hero won’t let us in on the joke.

Mr. Bridges’s case of NCI is in that hermetic stage where a selfish negation of all outside opinion leads to humiliating career decisions that the star doesn’t fully realize they’re making. NCI blinds the star from seeing how silly they look and consequently divorces them from reality enough that they take a strange pride in their own oddity.

Can Mr. Bridges recover from this devilish disease? It’s hard to say. The progenitor of NCI, Nicolas Cage Esquire, does, on occasion, allow his talent to emerge from behind his lunacy but seemingly only by accident. Maybe it will be by accident that we will once again see Mr. Bridges. For now, sadly, his NCI has fully overtaken his good sense and “Seventh Son” is the signifier of his full blown madness.

Movie Review: Crazy Stupid Love

Crazy Stupid Love (2011) 

Directed by Glenn Ficarra, John Requa 

Written by Dan Fogelman 

Starring Steve Carell, Ryan Gosling, Emma Stone, Julianne Moore 

Release Date July 29th, 2011

Published July 28th, 2011 

Will Steve Carell ever grow up? In The 40 Year old Virgin Carell played a man-child who needed the help of friends to get him laid for the first time. Now, some seven years later, Carell is playing a slightly more grown up man-child who still needs help getting laid, this time after his wife of 25 years, Emily (Julianne Moore), has divorced him.

Enter Jacob played by Ryan Gosling. Jacob looks like he walked out of the pages of GQ carrying the swagger of a pro athlete and the ladies man rap of The Game author Neil Strauss. Jacob takes pity on Carell's Cal after repeatedly listening to Cal whine about his wife cheating on him. Naturally, this leads to a montage of Carell trying on clothes while Gosling hits on the various women assisting in their clothing choices. Soon, Cal has a swagger and for the first time in 25 years he's having sex with a woman who is not his wife, in fact, he's having sex with a number of women.

Jacob meanwhile, finds himself in an entirely new place in life. Hannah (Emma Stone) is the rare woman to reject his advances but after she gets a surprise from her would be fiancée she decides she wants the bar-hopping bad boy. Thinking that it would be just a one night stand, Jacob and Hannah have one of those first nights together that you end up telling your kids about.

Crazy, Stupid, Love was written and directed by the team behind the hit 2010 comedy Easy A, Glen Ficarra and John Requa. The duo has a good ear for the way people speak and an excellent feel for the comic rhythm with which people in movies speak. Carell and Gosling have a terrific comic rapport; quite surprising given Gosling's talent for drama and Carell's comic tendencies.

Also excellent is the chemistry between Gosling and Emma Stone. Ficcarro and Requa did great things with Stone in Easy A and the actress continues to show the promise of a budding superstar in Crazy, Stupid, Love. The Jacob-Hannah love montage would be typical, even perfunctory, were it not for the chemistry of these two terrific performers.

Crazy, Stupid, Love is far from perfect; the film goes off the rails a little late in the film after revealing an unnecessary plot twist and a ludicrous plot involving Cal and Emily's babysitter, Jessica (Analeigh Tipton.) That said, young actress Analeigh Tipton is a total sweetheart who has a terrific sub-plot with Cal and Emily's son Robbie played by Jonah Bobo.

The good things about Crazy, Stupid, Love greatly outweigh the bad. Steve Carell and Ryan Gosling are terrific together as are Gosling and Emma Stone. Add in small roles for Kevin Bacon and Marisa Tomei and you have a recipe for a terrific movie that cannot be spoiled by minor imperfections.

Movie Review The Kids Are Alright

The Kids Are Alright (2010) 

Directed by Lisa Cholodenko 

Written by Lisa Cholodenko, Stuart Bloomberg 

Starring Mia Wasikowska, Annette Bening, Julianne Moore, Mark Ruffalo, Josh Hutcherson

Release Date July 9th, 2010 

Published August 1st, 2010 

An unconventional family in an unconventional movie; “The Kids Are All Right” tells the story of a lesbian couple named Jules (Julianne Moore) and Nic (Annette Bening) and their teenage son and daughter, Laser (Josh Hutcherson) and Joni (Mia Wasikowska). The picture of modern domestic bliss in their comfortable upper middle class niche; this family is in just the right moment to be upended.

Upended they are when the kids seek out the man who donated the sperm that impregnated their moms. The donor daddy was Paul (Mark Ruffalo) a bachelor restaurateur living the California ideal of wine, women and organic coop farming. He's shocked to hear from Joni and Laser but willing to meet and after meeting them he becomes a part of their lives. Naturally, though they put on a brave face, Jules and Nic are a little hurt and a little threatened by Paul. With Joni leaving for college soon they are concerned about losing precious moments with her to Paul. To rectify the situation they attempt to connect with Paul and it goes well for Jules, not so well for Nic.

You may be able to guess what happens next but not the way these characters react to these changing circumstances. Writer-director Lisa Cholodenko has gathered an expert cast into a modern and unique story of love, family, sex, heartache and self discovery. Surrounding these dramatic developments are comic moments that are painfully awkward yet somehow round the corner from embarrassing to shockingly funny.

In a cast filled with standouts Annette Bening is the star. Though some may find her control freak character shrill, Ms. Bening turns this around with one touching and brilliant scene that is arguably the finest bit of acting in any movie this year. An uncomfortable dinner at Paul's house finds Paul and Jules finally sharing a common interest, singer Joni Mitchell, and Ms. Bening heartachingly warbling a piece of her favorite song.

In the film's timeline this scene arrives at a turning point and as the scene plays out we become lost in this moment of pleasure tinged with sadness. It's a moment that sets the pace for everything to come after it and the moment bonds you not just to Ms. Bening's Nic but to the film and the emotional journey of all of these characters.

While Ms. Bening is the star, Mia Wasikowska is the film's MVP quietly holding the emotional center while all around her grow chaotic and emotional. She too will have her moment of emotional breakdown but her center is strong and her recovery quick. Best known for her role as Alice in Tim Burton's unctuous “Alice in Wonderland,” this is the first time Ms. Wasikowska has been allowed to stand apart from the background and she really proves her dramatic chops.

”The Kids Are All Right” is not flawless. The story grows restless and the awkward comedy is, at times, wearying but for the most part this is a wonderfully adult dramatic comedy with a good head and a better heart. Lisa Cholodenko has a strong sense of character and place and with this cast there was simply no going wrong.

Movie Review The Hunger Games Mockingjay Pt 1

The Hunger Games Mockingjay Pt 1 (2014)

Directed by Francis Lawrence 

Written by Danny Strong and Peter Craig 

Starring Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson, Julianne Moore, Elizabeth Banks 

Release Date November 21st, 2014 

Published November 20th, 2014 

"The Hunger Games" could have been a revolutionary box office bonanza with a brain. Sadly, thanks to the greed of Lionsgate Pictures, it's become an ironic symbol of the greed that the film is meant to satirize. I’ve been told not to hold against "Hunger Games: Mockingjay - Part 1" how it came to be a “part 1.” But I must. Because what could have been a deeply impactful 2 1/2- hour epic finale has been beefed up into a bloated, four-hour-plus time waster that won't play out in full for another year. There was the potential for greatness in the "Hunger Games" series. 

"The Hunger Games" arrived on the big screen at nearly the same moment as the Occupy Wall Street protests dominated the headlines. It wasn't by design, but it happened that the plot about the desperate poor spoiling for war with the ruling elite coincided with an all-too-brief cultural moment. Of course, Occupy Wall Street had neither the marketing muscle nor physical will of the "Hunger Games" hype -- I'm speaking more of a fashionable attitude for revolution rather than an actual revolution. 

"The Hunger Games" was never meant to galvanize a movement. Still,  Gary Ross's original had an unmistakable edge with its themes centered on the “haves” and “have nots.” The denizens of the Capitol, first glimpsed in "The Hunger Games," are the picture of grotesqueness: Loud, proud fools adorned in their riches, flaunting everything in front of those who arrive with nothing. Those who arrive with nothing include our heroes, Katniss (Jennifer Lawrence) and Peeta (Josh Hutcherson). 

Sport fighting the poor for the amusement of the rich has a historic flavor to it – think “Christians and the lions.” While our modern society hasn't devolved to that point, who hasn't heard someone compare America to ancient Rome? The rich under-girding of the first "Hunger Games" is the potential for class warfare and why such warfare is justified. The second film, "Catching Fire," doesn't carry the metaphor as strongly. While Katniss is used as agitprop for the Capitol, we're left with a story about the games and not the people in them. Simply getting Katniss and Peeta to the arena seems to be that film’s goal, and the journey is a bit of a drudge. 

"Mockingjay - Part 1," on the other hand, goes too far back the other way. Katniss, now the agitprop of the revolution, spends the film mourning the poor and the dead in the class warfare that she inspired. The film fails to take flight as an adventure movie without the propulsive effect of the games. This isn’t because director Francis Lawrence is incapable, but because he's been handcuffed to two movies instead of a single film. 

"Mockingjay" should have been written as a thrill-ride epic, a finale that combined tears and compassion with the kind of rollicking rebellion the series should have built toward. 

What should be a whipsaw ride of emotion, excitement and catharsis is instead an exhausting, 2-year trudge to an overstuffed conclusion. What a shame. Commerce has defeated art in "The Hunger Games: Mockingjay - Part 1." While Katniss weeps for the districts, I weep for wasted opportunity for greatness.