Movie Review Enigma

Enigma (2001) 

Directed by Michael Apted

Written by Tom Stoppard

Starring Dougray Scott, Kate Winslet, Jeremy Northam, Saffron Burrows, Tom Hollander

Release Date April 19th, 2002 

Published October 8th 2002 

A little more than two years ago, the film U-571 caused a small controversy when it portrayed an American sub crew as the first Allied soldiers to capture a German code-breaking machine. It was not the Americans but rather a British sub that captured the first Enigma machine. And Enigma shows that it was the British who first cracked (and then cracked again) the German’s supposedly unbreakable codes.

At Bletchley Park, a converted British farm, a group of Britain’s top mathematicians are holed up combing through jumbled numbers and letters, attempting to uncover German troop movements. As we join the story we meet Tom Jericho (Dougray Scott), possibly Britain’s top code breaker. Jericho was the first to break Germany’s Shark code—the code used by German U-boats. Jericho is returning to Bletchley Park after recovering from a nervous breakdown that his colleagues believed was work induced; however, we come to realize that it was caused by a failed romance with a mysterious blonde named Claire (Saffron Burrows).

It is Tom’s goal to return to Bletchley Park and win Claire back, but upon his arrival, he finds Claire has gone missing and the code he had spent so much time cracking is now useless. As Tom is distracted by his search for Claire he must also deal with once again cracking this uncrackable code. In his search for Claire, Tom enlists the help of Claire’s best friend,

Hestor (Kate Winslet). Tom and Hestor quickly discover that Claire’s disappearance and Jericho’s unbreakable code may be related. Jeremy Northam plays a lawman named Wigram who suspects that one of the Bletchley Park mathematicians may be a German spy and because of Jericho’s strange behavior he is at the top of Wigram’s list.

The code breaking in the film is quite complicated, to the point of being entirely confusing to anyone not well versed in mathematics. It was so confusing that a layman would not understand it; however, to dumb it down would be a disservice to the history of Bletchley Park.  

While the difficulty of that portion of the story makes Enigma difficult to follow at times, the actors, (notably Dougray Scott) do an excellent job ofkeeping the audience engaged. The scenes involving Scott and Northam are something out of classic Hitchcock as these two intelligent men match wits searching for a missing femme fatale and a spy who may or may not be the one in the same.

Had director Michael Apted indulged more of the Hitchcockian elements of Enigma, the film may have been far more entertaining. As it is, Enigma comes off more as a scholarly historical piece and less of an entertaining mystery. Still Enigma is a well-crafted piece worth a look for. It is shining a light on history that is too often colored by Hollywood. 

Movie Review: Ella Enchanted

Ella Enchanted (2004) 

Directed by Tommy O'Haver

Written by Laurie Craig, Karen McCullah Lutz, Kirsten Smith, Jennifer Heath, Michelle J. Wolf 

Starring Anne Hathaway, Hugh Dancy, Cary Elwes, Vivica A Fox, Minnie Driver, Joanna Lumley

Release Date April 9th, 2004

Published April 8th, 2004

You have to be a man very secure in his manhood to walk into a video store and rent a movie like Ella Enchanted. A lesser man would drag a child with them (niece, cousin, daughter, any girl under the age of 12). So on sheer manhood sacrificing, I deserve some respect. As a critic I say I have to watch it because it's there, but in all honesty I was kind of looking forward to the film. And no pervy insinuations about Anne Hathaway, I was intrigued by the film’s trailer and after seeing the film, I was right to get it.

Anne Hathaway, the rising star of The Princess Diaries (I haven't seen either PD films, this film was hard enough to rent), stars as Ella of Frell, a commoner who at birth is given a unique and horribly thought out gift by her fairy godmother Lucinda (Vivica A. Fox). The gift is obedience. Ella must do anything she is told to do by anyone.

The gift is obviously more of a curse, especially after Ella's mother passes away and commands her never to tell anyone about her "gift", she doesn't want anyone to use it against her. Years later, when Ella's father (Patrick Bergen) remarries to a harridan played by Joanna Lumley, a typecasting that Lumley may never escape, she brings along horrendous daughters who soon discover Ella's secret and begin using it against her.

Regardless of her curse/gift, Ella still grows up independently minded with a surprisingly political spirit. She leads protests on behalf of Ogres, Elves and Giants who have been enslaved by the evil King Edgar (Cary Elwes). Edgar is to give up the crown soon to his nephew Prince Char (Hugh Dancy). Think Prince Harry of England plus a rock star and you'll understand how much the girls of the kingdom love Prince Char. Ella however, as the plot dictates, isn't as impressed.

Ella and Prince Char are soon thrown together and it's dislike at first sight for Ella who believes the Prince is as evil as his uncle. The Prince is soon to win Ella over however and the two go on to fall in love. However there is still the problem of Ella's curse and the Prince's uncle who secretly plots to kill the Prince and remain king. The thrust of the plot is Ella's journey to find her fairy godmother and get her curse lifted and then save the Prince and get married, happily ever after, yada yada yada.

Simply take a little Cinderella with some cliffs notes Shakespeare and you can figure out where this plot is going. What works about Ella Enchanted, based on a popular book series by Gail Carson Levine, is the upbeat fairy tale style of the film. The film is bathed in a magical, pixie dust glow, saturated fantasy colors and modern touches for comic effect. There are malls, bicycles and modern politics. Don't worry it's all handled very lightly. All of it played for witty effect.

Director Tommy O' Haver crafts a wonderfully surreal fairy tale that evokes a live action Shrek in it's magic and whimsical fairy tale aesthete. O'Haver doesn't condescend to his young target audience, his musical choices, Elton John and Queen, are not known to younger viewers but are a treat to audiences who remember them. The songs are also weaved into the plot, the lyrics match the action onscreen, not an original concept but cleverly done.

Anne Hathaway has a terrific comic spirit that shows why those Princess Diaries movies have been so wildly popular. She is a tremendously likable presence onscreen. She is attractive with a mischievous glint in her eye. She has terrific comic chops and shows she's up for anything by singing two songs. Compared to contemporaries like Hillary Duff or the Olson Twins, she is a breath of fresh air.

The discovery here is Director Tommy O'Haver whose breakthrough feature Billy's Hollywood Screen Kiss was a minor gem from 1998 that most people missed. O'Haver has a wonderful comic touch. This is material that could collapse if overdone but O'Haver never let's it get away from him. From the first frame the GGI kingdom grabs your attention, little comic moments float by as the camera floats to Ella's cottage for the first scene.

The Director really helped himself by filling his cast with talented supporting actors like Cary Elwes, who lends the film a little of that Princess Bride karma, Minnie Driver, and Parminder K. Nagra who is a little underused but terrific when she's seen. Hugh Dancy, in his first major role, holds his own opposite Hathaway whose presence could have overwhelmed a lesser actor. Dancy was unrecognizable in his small role in King Arthur so this film is the highlight of his resume.

For what it is, a kid's movie, a movie meant for young girls, Ella Enchanted ranks with the Pixar films in the way it provides thrills for audiences. Ella is not as funny or as artistically accomplished as Pixar's films or Shrek but by the lowered bar for family films that appeal beyond demographic boundaries, you can throw this film in the conversation with Nemo and the rest.

Movie Review: Edge of Madness

Edge of Madness (2002) 

Directed by Anne Wheeler

Written by Charles K. Pitts, Anne Wheeler

Starring Brendan Fehr, Caroline Dhavernas, Corey Sevier, Paul Johansson

Release Date January 1st, 2002 

Published May 27th, 2003

Have you ever seen a film that you would describe as remarkably average? It's an odd experience watching a movie that is so inoffensive yet so dull that you have literally no opinion of the film whatsoever. For someone like myself who writes about movies, it is a far stranger experience. How can I write about a movie that I have no opinion of? It's not a good movie but it's not a bad movie either. This is the quandary I find myself after viewing the mystery Edge Of Madness, a remarkably average thriller starring Brendan Fehr.

Set in 1850 in Manitoba Canada, Edge Of Madness is the story of a strange woman named Annie (French TV star Caroline Dhavernas) who arrives at county jail claiming that she has murdered her husband. The county constable, Henry Mullan (Paul Johannsen), is skeptical of her story, as she seems to have lost her mind. Nevertheless he takes her confession and places her in jail for the night. The next day when Annie becomes conscious and realizes where she is, the constable is surprised to hear her stick to her story about having bludgeoned her husband with a large rock.

In flashback, Annie explains how she met her husband, Simon Herron (Brendan Fehr) when he came to her orphanage and selected her to be his wife. Annie is excited to get out of the orphanage but she quickly realizes that her new husband is no savior. Rather, he is a brutal abusive man who doesn't want a wife but rather a sexual servant who can cook. On the bright side, Simon's brother George (Corey Sevier), a kind, sensitive soul befriends Annie and the attraction is so obvious that even dunderheaded Simon picks up on it. This causes Simon to fly into a jealous rage and abuse not only Annie but also his brother.

All of this leads up to Simon's death, and the film’s mystery surrounds who killed Simon. Annie or George? Did Annie claim she did it to protect George or was it as George claimed, an accident? To be honest, by the time the film began to unravel it's mystery I was already drifting off. It's not a bad movie but for short segments it grows a little dull. There were moments when I would look at the time, wonder what was on cable, and think of how much laundry I had to the next day. At one point I even took a short call on my cell and didn't bother to pause the movie. That may seem unprofessional but hey, if the film were more engaging I would have at least paused it.

Edge Of Madness is a well-made, well-acted period piece with interesting actors and interesting performances. Alas, it's easily forgettable at the same time. I admired the professional look of the film. It's well polished for a direct-to-video movie but the story simply isn't compelling enough to hold your interest. It makes for a good movie to fall asleep to because you can nap, wake up 20 minutes later and you haven't really missed anything. It's the absolute definition of an average film.

On a side note I must take issue with the film’s title, a cynical attempt by its marketers to fool people into thinking it's a horror film. On IMDB it's listed under the title A Wilderness Station, a title that makes more sense in the context of the film (Ed. Note - Wilderness Station was the Canadian title), but not nearly as cool sounding as Edge Of Madness, which sounds like the title to an Ozzy Osbourne album.

Movie Review Dressed to Kill

Dressed to Kill (1980) 

Directed by Brian De Palma 

Written by Brian De Palma 

Starring Michael Caine, Angie Dickinson, Nancy Allen, Dennis Farina

Release Date July 25th, 1980

Published August 14th, 2002 

There is something about a great twist ending that can make a seemingly average film great. Take the Sixth Sense, it's doubtful that film would exist without it's brilliant twist. Or Hitchcock's classic, Psycho, likely the greatest twist of all. Brian DePalma's Dressed To Kill isn't quite on par with Sixth Sense or Psycho, but it does have a fantastic twist ending that is frightening and a little campy but exciting. That is, if someone hasn't already ruined it for you.

In Dressed To Kill, Angie Dickinson is a bored housewife, sexually unsatisfied and desperate for a change. She has a husband she likes but doesn't love and a son (Keith Gordon from Back To School) who she worries is becoming a shut in. So she takes her problems to a well-respected psychiatrist, Dr. Robert Elliot (Michael Caine). He tries to help her but after she comes on to him, he ends the session, leaving her unsatisfied and still searching for adventure. This leads her to a museum and a chance encounter with a complete stranger.

From there the film takes a left turn into creepiness as Dickinson's housewife is murdered ala Janet Leigh in Psycho. A high-class hooker played by Nancy Allen witnesses the murder. Because Allen was the only witness, she is also the only suspect, according to Detective Marino (NYPD Blue's Dennis Franz). Now a target of the killer, Allen teams up with Gordon to find the killer before she finds them. Meanwhile Dr Elliot is getting strange phone calls from an ex-patient who is taking credit for the murder and threatening to kill again. In an odd choice, Elliot does not inform the police of the calls.

The whole film is an homage to Psycho, with the story, the plot devices and the camerawork. The killer is always shot in profile with quick cuts, she's there and gone very quickly giving the audience a glimpse of things unseen by the character. 

Dressed To Kill is a good movie, very weird though. The opening shower scene is something out of soft-core porn. Then there is the ten-minute museum sequence, which is done with no dialogue or score, just ambient noise and visuals and one amazing tracking shot that takes us on a tour of the entire museum.

Brian De Palma has often been criticized for his style over substance approach where his visual mastery overwhelms his story. Dressed To Kill is no exception. However, Dressed To Kill is a film where the visuals are far more important than the plot. They in fact ARE the plot. The ending hinges on two sensational visual sequences, one a dream and the other the shocking twist.

Sadly, someone ruined the ending for me so some of the shock was taken out of it. But De Palma's visuals more than make up for it. If you don't know how it ends then you will love it. If you already know the twist you will at least be dazzled by the visual flair.

Movie Review The Dreamers

The Dreamers (2004) 

Directed by Bernardo Bertolucci 

Written by Glibert Adair 

Starring Michael Pitt, Eva Green, Louis Garrel 

Release Date February 6th, 2004 

Published August 1st, 2004 

Bernardo Bertolucci is unquestionably a master behind the camera. He has a painter’s eye for spectacular visuals. Despite that the appeal of his provocative, sex soaked movies has escaped me. As lovely as Last Tango In Paris, and more specifically Maria Schneider were, I fell asleep during that film. There’s something about French politics (For the record I know Bertolucci is from Italy but he made his best known films in France), I find tremendously dull and their sullen attitude toward sex less than exciting.

For his latest film, Bertolucci adapts a novel by Gilbert Adair that takes place in a time and place that Bertolucci is quite familiar with. Paris, 1968. As cinema'de art and the cahiers du cinema were breaking ground, the French government sought to fight back against revolutionary filmmakers and what began as the simple closing of an influential theater turned into a political revolution.

Set against this real life background in The Dreamers is the story of three cinema-loving teenagers who are completely swept up in the art, politics and especially the sex all around them. Michael Pitt is Matthew, an American in Paris for a year of studying, or more often watching movies at the legendary cinematheque where Henry Langlois programmed any and every movie imaginable from Nicholas Ray (Rebel Without A Cause) to Jean Luc Godard (Breathless).

When the cinematheque is shut down and Langlois fired, Matthew meets a pair of fellow cinemaphiles and protestors, non-identical twin brother and sister Theo (Louis Garrel) and Isabelle (Eva Green). The sheer force of their attitudes draws Matthew to them. They share his passion and knowledge of film and they are drawn to his wide-eyed naivete. Before long, Matthew is completely away from his studies and living with his new friends.

While revolution rages outside, the kids, whose parents have taken leave for vacation, stay locked up in their apartment testing each other's limits in film knowledge, musical taste and sexuality. As Matthew quickly learns, the twins have a strange bond. They sleep in the same bed nude and when Theo loses a trivia challenge Isabelle has a punishment that would make even the most maladjusted dysfunctional think twice. It isn't just the twins testing their boundaries, when Matthew loses a trivia challenge Theo has him make love to Isabelle while he watches.

This I suppose is meant to be edgy but it's more uncomfortable than anything else. Michael Pitt is a terrific actor who has greatness in his future but there is an aimlessness to this role. Eva Green is a bold newcomer with a terrific presence but she is unable to sustain the sexual energy her character radiates in her first few scenes. Louis Garrel, who's father is a well known director in French cinema, has that spiky French attitude and his love of film is well conveyed. However, when it comes to politics, sexuality and otherwise, he seems nothing more than a petulant child. Maybe that was the intent.

That is the problem with The Dreamers, we aren't sure what Bertolucci's intent is with these characters. Are we to admire the adventurousness of their experimentation as his camera seems to or are we supposed to feel sorry for these children when they are exposed for the underdeveloped personalities they are? The problem with feeling for them is that there is little depth to their psychology beyond “I blame my parents” pop psychology. Mommy and Daddy are never home, no one loves me, wah wah wah.

I admire this film for its beauty. Bertolucci paints a spectacular canvas of visuals both outside and in the sprawling apartment which is filled to overflow with cinema history. I also admire the film’s love of cinema, a literal worship of filmed art that pours out of the screen, especially when Eva Green's Isabelle imitates her favorite films. Educated filmgoers will get a real thrill recognizing the many cinematic homages throughout the film.

It's just a shame that Bertolucci and writer Gilbert Adair did not put more thought into forming their characters into something more than petulant children, whining and screwing while history unfolds around them.

Movie Review: Dogville

Dogville (2004) 

Directed by Lars Von Trier

Written by Lars Von Trier

Starring Nicole Kidman, Stellan Skarsgard, Lauren Bacall, Paul Bettany, Chloe Sevigny, Patricia Clarkson

Release Date April 23rd, 2004

Published March 25th, 2004 

Director Lars Von Trier received a lot of positive notice for his film Dancer in the Dark, but what really stuck with him was the negative notice. Specifically, Von Trier bristled at criticism that he did not understand America well enough to set his film there. In response, Von Trier began work on what he calls his America trilogy. The first of the trilogy is called Dogville, which observes America's morals and values from a European perspective. A powerful, if not entirely accurate, indictment of American moral hypocrisy.

Nicole Kidman stars as Grace, a woman on the run from gangsters and the law who finds herself in the tiny hamlet of Dogville somewhere in the Rocky mountains. With the help of a local named Thomas Edison Jr. (Paul Bettany) Grace avoids the gangsters by hiding in a mine shaft. Tom diverts the gangsters but he has ulterior motives for helping this stranger.

Thomas is Dogville's self appointed philosopher and teacher. He holds monthly meetings at the town’s church where he pontificates to the town’s 15 residents on morals and ethics. When Grace arrives Tom sees an opportunity to put his teachings to the test and see if the townspeople live up to the ideals he has attempted to instill. Grace is unaware of Tom's motives and sees only his kindness; the two form an immediate bond. Despite his underlying intentions, Tom's feelings for Grace are real and for a time we think there could be a happy ending for the two.

Tom's plan for Grace and the town is for Grace to hide out under the town's protection. In exchange, Grace will work for each of the town’s residents one hour of each day. For Grace, it's a hideout. For Tom, it's a social experiment--a test of the town's kindness and caring. It begins as Tom would hope, with the town taking to Grace. (It helps that Grace is, in turn, a hard worker.) However, as Grace's predicament is slowly revealed the town slowly turns and Tom's experiment takes a sad and dangerous turn.

Oscar nominees Chloe Sevigny, Lauren Bacall and Patricia Clarkson head up the supporting cast with Philip Baker Hall and Jeremy Davies. The soul of the film however is the noble but badly damaged Chuck played by Stellan Skarsgard. Chuck stands in for all of America's failed dreams, stuck in a loveless marriage and a job that is more of an obligation Chuck takes his rage out on whoever is nearest to him. When that rage is turned on Grace it begins the films ugly turn. Skarsgard is invaluable; his pained expression conveys the broken back of the American working class of the depression era.

Von Trier's first of three American allegories is a searing look at the morals and values that this country was built upon, and the level of hypocritical betrayal of those values on the part of many Americans. It's a cynical point of view, but one that is shared by a number of Mr. Von Trier's European brethren. As a patriot and a partisan, I find some of what Von Trier has to say about American values a little unfair but take it with a grain of salt because, in Europe, Von Trier's views may not be a minority opinion.

Stylistically speaking, Dogville is an amazing break from conventional filmmaking; an experiment on par with Von Trier's invention of Dogme filmmaking back in 1995. The set standing in for the Rocky Mountain hamlet is merely a barren soundstage with chalk outlines where homes should be. The only sets are an elevated stage that serves as Grace's home, a small storefront window, and a bell tower that hangs from the ceiling.

Von Trier cribbed the visual style from the filmed plays he grew up watching in his native Denmark. Like a great stage play, the action is in the words. This is a terrific screenplay with powerful, intellectual ideas. Ideas about morality, values, religious hypocrisy, and old world justice. It's the best thing Von Trier has written since Breaking The Waves. At nearly three hours, the film clips by at a surprisingly strong pace. The script is so powerful that you barely notice the passage of time.

This a rare and unique film. A challenging look at how a foreigner has viewed our country's cultural history. A film that holds a funhouse mirror up to our past, our politics and our culture, it's not an entirely accurate or fair vision but is valid in its own way as an opposing view. If the two remaining films in Von Trier's America trilogy, Manderlay and Washington, are as powerful as Dogvilleis, then we are really in for something amazing.

Movie Review The Cat in the Hat

The Cat in the Hat (2003) 

Directed by Bo Welch

Written by Alec Berg, David Mandel, Jeff Schaffer

Starring Mike Myers, Alec Baldwin, Kelly Preston, Dakota Fanning, Spencer Breslin

Release Date November 21st, 2003 

Published Published November 20th, 2003

Like any kid born after 1957, the books of Theodore Geisel, better known as Dr. Seuss, were an important part of my childhood. From Green Eggs and Ham to How The Grinch Stole Christmas to The Cat In The Hat, the Dr's rhyming wordplay and gloriously odd drawings are what helped form my imagination from the time I was able to read.

When The Grinch was turned into a blockbuster starring Jim Carrey, director Ron Howard was able to retain some of the magic of the book while still allowing Jim Carrey to do his thing. The Grinch wasn't a great adaptation but a skillfully crafted one. The same cannot be said of Bo Welch's adaptation of another Seuss classic, The Cat In The Hat which is neither great nor skillful. Rather it's a dreadful exercise in Hollywood blockbuster cynicism.

Mike Myers steps into the fur of the Cat in the Hat, the six foot feline who simply appears out of thin air to reek havoc and entertain a couple kids trapped at home in the rain. The kids in the film adaptation are Conrad (Spencer Breslin) and Sally (Dakota Fanning), brother and sister and different in every way imaginable. Conrad is destructive, messy and out of control. Sally is fastidious, organized and uptight. Their mother (Kelly Preston) works as a real estate agent and is having a party at their house tonight and the house must be perfect for her boss Mr. Humberfloob (Sean Hayes).

Mom has to work and must leave the kids with the narcoleptic Mrs. Kwan, a woman who could sleep through a train wreck in the living room. After a serious scolding from mom the kids agree to keep the house clean while mom works, but once she's gone the plan goes out the window with the sudden arrival of the Cat In the Hat. Thus begins an adventurous day of trying to keep the house from falling down around them and learning a lesson about how to have fun.

Mike Myers is almost indiscernible under piles of fur and rubber. His schtick however, is unmistakable as he bounds from character voice to character voice as if channeling Robin Williams at his manic worst. Myers plays the Cat as a combination of his Austin Powers persona and former flamboyant center square Charles Nelson Reilly. Myers never for a moment resembles the Cat you remember from the book, save of course for the signature red and white stovepipe hat. Aside from the hat however this Cat is a complete creation of Myers and makeup artist Mike Smithson. Much like the recent Austin Powers films, the performance is very hit and miss.

Director Bo Welch, helming his first feature, shows a terrific flair for set design which is not surprising because that is where he got his start. The Cat In The Hat has spectacular sets, production design, costumes, and makeup. If only the same attention had been paid to the script and especially the jokes. The script is credited to three former Seinfeld writers, Alec Berg, David Mandel and Jeff Schaffer. Odd choices to begin with but then the script received a number of uncredited rewrites by Myers who likely wasn't credited because his work was all improvisations on the set.

Being that The Cat In The Hat was not a long story to begin with, the writers had a lot of time to fill. The unfortunate choice to fill that space with fart jokes and other forms of low humor are a deathly decision that destroys any chance the film had to be entertaining. Modernizing the story, allowing Myers to riff on pop culture is fine. Those elements worked to a point with Jim Carrey in The Grinch, but Carrey was at least somewhat restrained by Ron Howard's skilled direction. Bo Welch seems completely at a loss to reign in his star and can think of nothing better than the dreadful grossout humor that would turn Theodore Geisel's stomach.

Adding to the pain is producer Brian Grazer and his Imagine Entertainment marketing staff who cram every frame with disgusting product placement. The producers have already put the Cat in every imaginable commercial from pop to pregnancy tests and the commercials don't stop even after the movie begins. Myers even does a riff reminiscent of his Wayne's World product placement bit. In Wayne's World it was a wonderfully knowing incisive joke. In The Cat In The Hat, it's overkill.

Watching this film’s producers prostitute this wonderful piece of literary history is almost as disheartening as it's disgusting and unnecessary bathroom humor and scatology. In fact, I'm not sure which is worse. Thankfully, there is the lovely young actress Dakota Fanning who gives another terrific performance in a film well beneath her talents. Dakota Fanning deserves a far better film and the book The Cat In the Hat doesn't deserve this treatment.