Nell (1994)

How have I not seen this movie before 2015?!  Oh wait... I remember... because I made fun of Jodie Foster's character and her 'language'.  Fast forward to today and I look back upon my youth...

Nell has certainly aged; but the performances from Jodie Foster, Liam Neeson, and Natasha Richardson are beautiful.  As Nell, the surviving twin born as the result of a rape, Jodie is incredible.  This powerful performance a 'wild child' is unforgettable.  As a young woman, born about the trees in North Carolina who has lived in isolation from the world and learned only the doctrine of her stroke-felled mother.

Neeson as the young 'heart of gold' doctor and Richardson as the mature (read evil) shrink battle it out, in stereotypical roles, for Nell's soul.  The due create a a chemistry that is believeable despite it's predictability.

As I see it, the message of Nell is timeless.  We are all 'hungry for silence'.  The film, amidst the mom jeans, inexplicable court-room speech, and distractingly bad hair, will resonate with the heart.

The Toy Stories (1995) (1999) (2010)

It’s hard to imagine that back in 1995 Disney and Pixar knew they were creating a new classic. Fifteen years later and we have a trio of amazing stories filled with genuine heart and authentic characters that everyone (with a soul) connects with. The main characters just happen to be toys and the story very personal.

In the first story, we meet our toys. ‘Old faithful’ a cowboy known as Woody (Tom Hanks) feels threatened when his boy Andy gets space ranger Buzz Lightyear (Tim Allen). Intimidated and insecure, Woody takes an immediate dislike to the bells and whistles of Buzz. The film excels on many different levels. But for a babysitting junior high-schooler (me) watching it with her charges, it was funny to them and heartwarming for me. In retrospect, there was and still is an immediate connection to your childhood and those toys you held most dear. The ones that had a special place on the bed when you were told to clean up while the rest when in the box.

Toy Story 2 rolled out in 1999. Skeptical of the sequel—I didn’t see this film until 2000—I shrugged it off as a ‘Disney Pixar money grab’. How very wrong. Again, I was amazed at how emotionally connected I was to this story of toys director by John Lasseter. At 20, you’re not quite old enough for nostalgia, but toys are clearly in the rearview mirror. Still, the storyline of Woody being a collector’s item and being held hostage by one resonated for a time when eBay was at its peak and my brother and I are visiting every Wal-Mart to complete a Star Wars figures collection.

2010 and along comes Toy Story 3. I laughed when friends mentioned ‘crying’ at the film’s climax. My nieces mentioned it being scary. Somewhere between 20 and 30, nostalgia set in. For me, Toy Story 3 is not only another adventure for Buzz, Woody, T-Rex and the Potato Heads it’s a trip down memory lane. It’s revisiting that special bond between a child and their toys. Not all of them—just the special ones. Parents and kids alike will identify with this film on some level. Maybe it's the toys, maybe it is Andy. Regardless, there is something special here, something to be treasured, and something not to be missed.

That Thing You Do (1996)

This film is as bland as the title suggests.

Guilty Pleasure: The Bodyguard (1992)

Uninspired clichés, bad montages, and equally bad acting does not keep me from enjoying The Bodyguard. As Frank Farmer—a former Secret Service agent who’s lost his mojo—Kevin Costner gives a bad impression of Clint Eastwood. Sullen, direct, no-nonsense, Frank spars with his new assignment: spoiled pop diva Rachel Marron (Whitney Houston). Houston can’t act, but she could sing. Her incredible vocals are showcased here alongside some really bad costume choices.

The effort to create tension between Farmer and Marron is gravely apparent. Let’s face it. Costner and Houston have about as much chemistry at Bert and Ernie. It’s a valiant, but laughable effort. True to his professional duties, he saves the day by taking the gunshot intended for his client. In a panic, she confesses her feelings. But alas, it is not to be. Stoic as ever, Frank leaves Rachel on the tarmac for the Pope. Fade to black.

The Bodyguard is rife with goofs and continuity mistakes further cementing itself as a guilty pleasure. Boom mikes pop-up everywhere. Cigarettes and dolls disappear and magically reappear. The plastic katana sword that Marron uses in the bedroom kills me. The soundtrack is all this film has going for it but in spite of it all, The Bodyguard works.

Following (1998)

A young writer (Jeremy Theobald) begins to follow random strangers in an attempt to develop material. Enter a local two-bit burglar (Alex Haw) who enters local flats more for the thrill than the theft. Fascinated, the writer job-shadows the burglar and quickly becomes his apprentice.

Writer/director Christopher Nolan brings us this odd B&W noir thriller. Taut, intriguing and claustrophobic Following is reminiscent of Memento without a budget. Nolan must invent that which he cannot afford and it serves the viewer well.  Observatoin is key as Nolan heaps layer after layer of detail upon the senses.  As the layers unfold their secrets, a seediness arises that makes you feel like a voyeur in this blighted London neighborhood. The tension rises to the breaking point with the last ten minutes exploding your mind.

As I see it, Following is a rather auspicious debut from Nolan.  The film is a tight, low-budget masterpiece and a must-see for fans of this director.

Rushmore (1998) // The Royal Tenenbaums (2001)

Wes Anderson is easily one of my favorite directors.  His unexpected views are always a delight.  Each of his films are a personal favorite.  Here are only two. 

Rushmore (1998)
Max Fischer (Jason Schwartzmann) is a sophomore at Rushmore Academy. Preferring to engage in extracurricular activities, Max finds himself on academic probation. Rushmore is threatening to fail him. Max befriends the father of his fellow students, Herman Blume (Bill Murray) and an odd relationship begins. Being expelled from Rushmore doesn’t keep Max from falling in love with his former teacher, Ms. Cross (Olivia Williams). It’s unfortunate, because Herman does too.

The understated performances make this movie. Schwartzmann and Murray play against each other wonderfully. They are essentially the same character at a different stage in life. Max is a naïve, overachieving and often pompous young man while Herman is a wealthy pompous old fart—both are looking for validation and their place in the world. Engaged in tug-of-war for the same woman’s heart, Schwartzmann and Murray’s roles are simultaneously odd, fun, and delightfully nuanced.

Writer/director Wes Anderson has created a beautiful film with understanding and sympathy for the adolescent—albeit characterized—experience. Every element of the film falls into place creating an intricate weave of cinematography, dialogue, settings, and score. It’s quite an experience.

This was the second of Anderson’s films for me. I watched Rushmore only after falling in love with The Royal Tenenbaums.  The Tenenbaums were most first exposure to Wes.  For that reason, this film is my favorite.

***

The Royal Tenenbaums (2001)

The Tenenbaums are unlike any family you’ll ever know and this is their dysfunctional story.

Alec Baldwin narrates the story of Royal Tenenbaum (Gene Hackman). Royal and his wife Etheline (Angelica Huston) have three children: Chas, Ritchie, and Margot. Royal's lack of interest in his children is the cause of his separation from Ethel. He leaves; as the years pass the children have become prodigies under their mother’s guidance.

Many years later and after hearing the Tenenbaum accountant is moving in on his wife, Royal feigns terminal cancer in effort to regain all that he has lost.

The diagnosis of cancer helps bring the errant former prodigies home. Chas (Ben Stiller) started buying real estate in his early teens and had a preternatural understanding of international finance. Now, a widower, he is struggling to come to grips with the loss of his wife in a tragic plane crash. Chas has become a safety freak and returns to the Tenenbaum family with his two boys in tow after deciding their apartment needs additional sprinklers and security. Ritchie (Luke Wilson) was a tennis phenom at an early age. After losing a game, Ritchie inexplicably leaves the game. He spends his days on a boat wandering on the high seas (for no apparent reason) until the news reaches him. Margot—she’s adopted—was a brilliant playwright and a smoker at twelve. She returns to the family home upon hearing of Ritchie’s arrival.

Oh… it gets better my dear friends. The colorful supporting cast includes Owen Wilson, Danny Glover, and Anderson muse, Bill Murray in memorable roles.

The Royal Tenenbaums is extremely well played. Writer/director Wes Anderson’s screenplay is top-notch—subtly outrageous and quirky. Physical comedy, agile dialogue, and brilliant chemistry are just the beginning. Add an unusually eye-catching production including oddly framed chapter introductions and assaulting opening credits, and plotlines advancing to the tunes of The Beatles, Bob Dylan, The Clash, The Velvet Underground, and The Rolling Stone… well, we got emotional resonance, too.

As I see it, Anderson essentially let’s Hackman and his cohorts run (cleverly) amok. But amid all the seeming chaos is the realization that family—no matter the dysfunction—is what life is all about.

When You're Strange: A Film about The Doors (2009) // The Doors (1991)

Followers of the Lizard King will revel in the original footage found in the newest documentary of the Doors.  When You're Strange director Tom DiCillo looks into the iconic American band exposing new insights, debunking myths, and examining what made them tick all with Johnny Depp’s narration. He is able to quantify why I find so very fascinating. It goes beyond the poet shaman, it is their music—the mystic, melodic sound courtesy of flamenco, blues, and jazz influences. The beat held by Ray Manzarek’s piano bass and his signature Vox organ create the ground for John Densmore’s blues drumming that weaves in and out among Robby Krieger’s finger-styled lead and rhythm flamenco guitar.

Jim Morrison was a broken genius who numbed in pain with drugs and alcohol. His persona became larger than life. That is more than apparent with the footage included here dated from 1966-1971. What is more tragic is how obviously frustrated Densmore, Manzark, and Krieger are; yet they take no action, going so far as to play right on through Morrison’s alcohol induced haze.

DiCillo gets it right where Oliver Stone gets it wrong…

Val Kilmer’s performance as Morrison is unwavering and eerie. The subtle nuances—the shift in his gaze, the near pirouette of his stance, the way he holds his mouth—it’s uncanny. But that is where it ends. Kilmer (and the audience for that matter) is in for one never-ending drag. The transcendent elements are there, as are important period elements, but Stone’s biopic is self-indulgent. The film is essentially one long trip, a mash-up of Morrison’s demonized life that serves no other purpose but to sensationalize.

You've Got Mail (1998)

Funny, I don’t remember You’ve Got Mail being this sentimental. It’s disgusting really, but somehow, I always manage to fall in love with Joe Fox (Tom Hanks) in the end.

12 years later and You’ve Got Mail continues to be the standard by which romantic comedies are measured. Rom-coms have evolved—rightly so—and this one is dated. The iconic, now archaic ‘you’ve got mail’ and dial-up modem is a trip.

As I see it, You’ve Got Mail is a decent romantic comedy (I like Kate & Leopold better) that begs one question years later. Whatever happened to Meg Ryan?!

The Cowboy Way (1994)

Every cowboy cliché—actually every cliché known to man—is alive and well thanks to Woody Harrelson and Jack Bauer in this "let's go to the big city and find the daughter of our murdered friend while stumbling our way into every possible scenario including, but not limited to: pricey hookers and hotels, bloodthirsty thugs, crazed cabbies, sweatshop-owning mobsters, and token black (Ernie Hudson) Central Park policemen who always wanted to be a cowboy."

American History X (1998)

An impromptu report by Danny Vinyard (Edward Furlong) begins a look into his older brother's life as a neo-Nazi. Under the tutelage of Cameron Alexander (Stacy Keach), a young, impressionable Derek begins a transformation from honors high-school student to rage-filled skinhead. Derek brutally murders two black men after finding them breaking into his truck. In prison and separated from influences, Derek begins to question the beliefs and opinions that got him here while his name is spoken with reverence throughout Venice Beach. Three years later, emerging from prison Derek seeks to redeem himself and save his little brother from following his path.

American History X dares to ask uncomfortable questions and examine the answers with a powerful blow. Filled with passion, hate, anger, revenge, justice, redemption and legacy, the film evokes a gamut of emotion.

Edward Norton provides a SEARING and staggering performance as Derek. Norton imbues Derek with such complexity, the viewer reacts in sympathy despite his hatred and racial feelings. Norton is phenomenal and succeeds in getting his audience to consider Derek's tragic youth and upbringing before passing judgment. Here's the thing, you can't. As a viewer, I was conflicted. Derek, well-informed, makes solid arguments for his beliefs and as horrible as it sounds, most people could find a piece of themselves in Derek, if they were honest.

Supporting Norton is Edward Furlong. Just as brilliant is Furlong, as Danny wrestles with his brother's change and his own. The ever villainous Stacy Keach has shades of Jim Jones about him as he preys on impressionable youth. Avery Brooks puts in a commendable performance, but it would have been nice to see his story line further explored. Guy Torry as Lamont, Derek's friend in prison, is another solid performance that would have benefited from closer examination.

With its harsh language and imagery, American History X is not a feel-good movie. Director Tony Kaye effectively presents Derek's story through a series of potent black and white flashbacks in all ugliness. Combined with a powerful score and dialog that further accents each moment, the film succeeds in making a lasting and sometimes cringe-worthy impression.

For all of its intensity, American History X takes the simple way out. The climax is equally powerful and unfullfilling. There are no simple answers when examining social inequality or discrimination and perhaps that it why the ending is so chilling.

Hate is indeed baggage. Brutal and violent, American History X pulls no punches. Seeing the true consequences of a man's hate as it destroys everything he loves is not something easily forgotten. Edward Norton's performance is not to be missed. Make no mistake, American History X is a powerful memorable film.

Heavyweights (1995)

One of Disney’s dated feel-good family films about overweight boys with Ben Stiller as a crazed fitness guru.

Metropolitan (1990)

Yet another of writer/director Whit Stillman’s artsy gems that blends the vapid and the everyday. This time he focuses on a group of Manhattan preps. Days begin at sundown and include intellectual conversation and dancing. Tom Townsend (Edward Clements) joins the group after a chance meeting. But for this group of young adults, the question is how each of them will cope as their group grows apart.

Much like The Last Days of Disco, Stillman’s Metropolitan is boring at first glance and becomes oddly riveting. Why? I’m still unsure. But I wasted 90 minutes of my life watching these young nincompoops whine about their station in life—and enjoyed it.

The Last Days of Disco (1998)

For this group, the last days of disco were beautifully vapid and strangely familiar.

The Nightmare Before Christmas (1993)

Though an apt description of my past week, The Nightmare Before Christmas is known as the film of young suburban misanthropic Goths.  Dazzling stopmotion animation delights onscreen, but this viewer found the movie lacking charm.  Full disclosure: I gave up after 38 minutes.

It seems Jack Skellington, the king of Halloween Town is tired of the screaming and scaring every 31st of October.  Somehow he finds the door to Christmas Land and is dumbfounded by it as I am of this film.

The self-indulgent score overpowers every element.  Jack Skellington seems to be a character worthy of our compassion, but his elocution is pitiful.  The viewer cannot relate if he does not understand.

Unique as it may be, The Nightmare Before Christmas falls flat.  Stop-motion animation is a fabulous technique.  The film is fascinating to look at, but  you quickly get over that to find the story is unappealing.  It's tedious.  The musicality is the film's weakness.  Garbled and monotonous, the songs just aren't good.

As I see it, Tim Burton and director Harry Selick missed the mark with this one.  I'm at a loss to explain the film's cult following.  The film is a mess.  Burton's Corpse Bride is a far superior piece. Selick fares better with James and the Giant Peach or the creepfest Coraline.  The Nightmare Before Christmas is just that.

James and the Giant Peach (1996)

Young orphan James lives with his two wicked aunts, Sponge and Spiker.  A slave to the spinsters, James world is a lonely, miserable place.  His only solice is the memory of his parents.  Enter a spilled bag of crocodile tongues.  Overnight a giant peach grows in the wasteland of the front yard.  Before long, the huge fruit is rolling James and an odd bunch of inhabitants away and towards his dream of New York City.  During the journey, James is kept company by a lady bug, spider, centipede, earthworm, and a grasshopper.

Devilishly engaging and wonderfully macabre, James and the Giant Peach is produced by Tim Burton, directed by Henry Selick and adapted from the Roald Dahl classic.  The film is perfect.  A blend of live action and motion capture, it's equal parts odd and charm.

The cast of characters make the film.  Voices by Richard Dreyfuss, Susan Sarandon, David Thewlis, and Paul Terry warm the heart.  Pete Postlethwaite is delightful in a quaint role.  Aunts Sponge and Spiker are frightening.  The dialogue between James and his creature counterparts is vibrant, filled with humor and emotion.

The story is simple, but multi-faceted and is just as I imagined it.  The production values are left of center, fitting beautifully with my third-grade memories.  From the aunt's creepy old, far from square house to the lucious flesh of the peach, every image jumps from the scene making a vivid fantasy.

As I see it, James and the Giant Peach is a brilliant adaptation of a fine children's book.  Don't miss the perfect storm found herein.

Sleepless in Seattle (1993)

In Seattle, a young boy conspires to find happiness for his widower father, Sam (Tom Hanks) by calling into a radio show. On the other side of the radio (and country) is Annie Reed (Meg Ryan) who falls in love with Sam and his son Jonah. A letter from Annie convinces Jonah that she’s the one for his dad. But convincing his Sam is harder than he expects.

Nora Ephron’s romantic comedy is a sweet tale of fate, but it contains little substance and what a shame that is. Still Sleepless in Seattle gets something right. The chemistry between Hanks and Ryan is genuine but we never see much of it. Both of them have delightful comedic timing; they are a joy to watch—as is the entire supporting cast with such names as Victor Garbor, Bill Pullman, David Hyde Pierce, Rosie O’Donnell, and Rita Wilson. It’s a nice balance.

The integration of An Affair to Remember is smartly done, but under Ephron’s direction Sleepless in Seattle is uniquely its own. The biggest caveat for me is our unlucky couple don’t have nearly enough ‘almost meetings’. The focus seems to be on Jonah’s hope for his dad. It’s perfectly precious without the cloying nonsense.

As I see it, Sleepless in Seattle is an adorable movie that relishes in happy endings for all. Less is more and this film proves it.

31 More Days of Horror: Cube (1997)

If prime numbers scare you, then you best sit this one out. Otherwise you'll want to see this one for the horrific deaths. Saw-like in its execution, but esoteric in its origin, Cube will frustrate the modern cinema-goer, but will delight the existentialist. Six people are trapped in a maze of interlocking cubes with no apparent way out.

Low budget and quite visceral, Cube is an effective examination of madness and murder. The viewer is essentially dropped in with the characters. There are no explanations, no clues, no method before madness takes over. Though we quickly establish that some cubes are diabolical booby-traps, there is no release for our tension. As the group explores, peril is imminent. We just never know when.

The death sequences are quick, but top-notch. Often it’s the paranoia-inducing setting amid the claustrophobic cube that is more frightening. The human experiment is fascinating.  As personalities conflict, the group's evolution and ultimate demise is apparent, but its subtlety is chilling.

Numerophobes beware! Solving the Cube requires the genius in the group to factor prime numbers.  But even is math isn't your strong suit, for the longsuffering, the reward is well-worth the torture.

31 More Days of Horror: The Blair Witch Project (1999)

The hype has past; film-goers have moved on. Now is the time to see The Blair Witch Project. The film is simple in its execution, therein lays its success. The film reminds us of that which is scariest—what we don’t see.

One very driven film student, Heather, drags two buddies along to document the story of the Blair Witch; who according to legend is behind the countless murders and disappearances spanning decades. Grab your gear. Let’s go camping!

The amateurish nature of the film is its best feature. Shaky-cam! Surprisingly, it’s not annoying, but enhancing. With this film, you must listen—not see. Listen to wind blow, the leaves crunch, and the faint noises in the background. The occasional revelation further cements that something is out there, but what? It’s an intangible malevolent being that scares you sh*tless.

Our trio isn’t stupid, just goofy. But as the situation quickly gets out of hand, they are clearly ill-equipped and the death spiral begins. Turning on one another, bickering, it’s not until Josh’s teeth are discovered that the group reunites.

Nothing prepares you for the final stand. And as you yell the cardinal rule {don’t go in there!}at the helpless duo, the film ends. Nice.

12 Monkeys (1995)

Year 2035 and prisoner {of what, I don't know} James Cole (Bruce Willis) reluctantly volunteers to go back in time to discover the origin of a death pathogen that wiped out Earth's population years earlier.  His time warp is error proned and his trip to 1996 turns out to be 1990.  In the 90s he's nothing but mental ward nominee and is quickly confined as such.  There he befriends Dr. Kailly (Madeline Stowe){whatever happened to her?} and son (Brad Pitt) of the virus' inventor (beautifully played by the distinguised Christopher Plummer)

To be honest, I kinda hate 12 Monkeys.  Terry Gilliam's sci-fi fantasy blows my mind--often times not making the connections I need.  The plot is frustrated for those slow on the uptake.  The only catalyst for not really hating it are the amazing performances by Willis, Stowe, Plummer, and particularly one young Brad Pitt.  They are fascinating to watch.  I suppose the movie is too. 

Pitt as an idealistic, schizo-prone crusader is fascinating.  He shows great command in this role and creates a multi-faceted character.  Willis' frustration as Cole is palpable.  As I mentioned earlier, Christopher Plummer is practically regal in this supporting role.

But... and it's a big one... what in the Hades is going on Terry Gilliam?!  I 'get' the overall plot, but I'm uncertain that we arrived a sufficient ending or that we properly executed the events leading up to the anticlimatic ending.  There is too much chaos and randomness for anyone to take hold of anything.

12 Monkeys, as I see it, is sometimes contrived and quite possibly could lead to madness.  For those willing to take the chance, you will be rewarded with Brad Pitt's stellar performance (and a really interesting setting in the mental hospital), but nothing else.

Dangerous Beauty (1998)

Cursed by her station, Veronica Franco (Catherine McCormack) has two choices: join a convent or become a courtesan. Following in her mother’s (Jacqueline Bisset) footsteps, she chooses the latter. Veronica quickly finds her powers over men and the court rising. Before long, Veronica is faced with the nobleman (Rufus Sewell) that spurned her.

Inspired by the true story of Franco who would be a lover, poet, hero, wife, and a victim of the Inquisition, Dangerous Beauty is an intelligent period piece. Set in 16th Century Venice, the film is both lavish and eloquent.

Catherine McCormack (28 Weeks Later, Braveheart) is stunning as Veronica. Her onscreen evolution is brilliant. Bisset is also beautiful in her supporting role. Rufus Sewell as the tortured nobleman is solid, but Oliver Platt is amazing. His Maffio deviant turned Monsignor oozes evil.

The history lesson is short, but the romantic passion is real. The film centers on Franco’s enchanting power and her ability to use it. She ultimately turns the war in Venice’s favor. This is a film of untold courage and tenacity.

The production is gorgeous. Opulent settings and the highly detailed costuming are enchanting. The dialogue is strong and surprisingly witty. The banter between court and courtesan is biting. The supporting score is inconsequential against the strong emotion found in the cast.

As I see it, Dangerous Beauty is a must-see for lovers of historical drama. Romantic and captivating, it’s a rare honest beauty.