Author Archives: natezoebl
The Count of Monte Cristo (2002)
Call it swash without the buckle. While The Count of Monte Cristo does an adequate job of telling the Alexander Dumas story (heavily editing chapters and making the leads friends in this version) the whole experience feels very rote. The sword fighting scenes are nowhere what they were billed as and the direction is surprisingly lackluster. Only the actors allow this film to arise mediocrity particularly with a devious turn from Guy Pierce (Memento). Kevin Reynolds (Robin Hood: Prince of Thieves) directed this film and proves he doesn’t need Kevin Costner to screw something up. Somewhere Costner is laughing. Actually, somewhere Costner is likely crying in his beer wondering what happened to him. “I was the king of the cinema…”
Nate’s Grade: C+
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Black Hawk Down (2001)
In the fall of 1993 Somalia was a nation being torn by civil war with feuding warlords and slowly being crippled by rampant hunger. The UN intervened to try feeding the starving nation but warlords like Mohamed Farrah Aidid cut off many of its shipments of food. The United States had plans to capture two top lieutenants of Aidid’s in the capital of Mogadishu. Over 100 Delta units and Army Rangers were sent into the heart of the Mogadishu market to execute the operation.
Things didn’t go well from the start as casualties began to pile up and first one, then two Black Hawk helicopters were shot down from ground fire. Medical vans and Humvees were continually blocked access to help the stranded soldiers by civilian roadblocks consisting of smoldering debris. It wasn’t supposed to take longer than 45 minutes. It ended up lasting over 15 hours. In the end 18 American lives were lost, over 70 were wounded, and over a 1000 Somalian lives were lost. What’s truly amazing is the courage the men displayed, and the fact that being surrounded by a sea of armed Somalians that more lives weren’t lost.
Black Hawk Down is essentially a two-hour action sequence. The emphasis of the film is on the stark recreation of the Somalia skirmish and it is indeed an achievement in grueling realism. You truly feel like you have been thrown into the middle of this firefight. With all the gunfire and chaos it leaves little time for getting to know characters. This is probably why they have names written on their helmets so the audience can attempt some semblance of who’s who.
The film is by no means for the faint of heart. Saving Private Ryan had some intense violence, but it was mainly condensed for the opening and closing 20 minutes. Black Hawk Down, on the other hand, is two straight hours of non-stop blood and gore. The violence and the intense realism are not gratuitous but indicative of the horror these men faced. If you can’t stomach a soldier plunging his entire forearm into the chest cavity of another to cut off a bullet wound – stay at home and read a good book.
Ridley Scott is on an ultra-violent hot streak after directing big name Hollywood tokens like Hannibal and Gladiator. His handling of Black Hawk Down is masterful, just for the simple fact of keeping the audience free from confusion. Throughout the duration we know who is where, where they want to go, and the general geography of the hot spot. The staging of the entire battle is beautifully filmed and the recreation of the Mogadishu market place is amazing in its fine detail. Some criticism has been projected at the film for portraying the Somalians as basically black people with guns. This is entirely true, but one must remember that the film is told from the American point of view.
The acting, as expected in a war film, takes a back seat to the heroic histrionics and the fireworks. Josh Hartnett is sullen in his duty as Staff Sergeant Matt Eversmann but always a comfortable figure to see on screen amidst the chaos. Ewan McGregor plays a soldier promoted to action instead of desk work and adds some touches of humor to the fray. Tom Sizemore is the most recognizable person as the often-frustrated Lt. Colonel Danny McKnight who fearlessly strolls across the battlefield while bullets whiz by.
Black Hawk Down for some will be the right movie at the right time, though it was never intended to be. The riveting action is more than entertaining and worth admission price, but you might leave pondering on the sacrifice few know the full details. Just make sure to go to the bathroom before the film starts.
Nate’s Grade: A-
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Sexy Beast (2001)
Never, under any circumstances, do you want to piss off Gandhi. Sexy Beast is a British crime story where the ferocious mad dog Don Logan (Ben Kingsley) is trying to recruit a retired hand (Ray Winstone) into one last job back in London. Winstone is enjoying the sun of California with his middle-aged ex-porn star wife who he loves dearly. But Don does not take “no” for an answer. Kingsley is the true focal point of the film and is astounding and brutally terrifying as the wound up gangster. He gives an electrifying performance that is the polar opposite of India’s non-violent leader. When Kingsley vanishes from the screen Sexy Beast suffers and becomes a variation of the old crime film, except a very short one at that being under 90 minutes of running time. Video director Jonathon Glazer has done a fine job for his debut but there isn’t much to this tale without Kingsley’s memorable efforts.
Nate’s Grade: B
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Vanilla Sky (2001)
Talk about a film’s back story. Tom Cruise signed on to do a remake of the 1997 Spanish film Abre Los Ojos (Open Your Eyes) which was directed by Alejandro Amenabar. During the filming the romance between Cruise and Penelope Cruz (no relation) got a little hotter than expected onscreen and broke up his long-standing marriage to Nicole Kidman. At the time she was finishing filming The Others which is the second film by Amenabar. This, by the way, is much more interesting than Vanilla Sky unfortunately.
Cameron Crowe’s remake starts off promising enough with Tom Cruise running around an empty Times Square like a Twilight Zone episode. Afterwards the film begins to create a story that collapses under its own weight. David (Cruise) is a rich boy in control of a publishing empire inherited through his dear old deceased dad. He has the time to throw huge parties where even Spielberg hugs him, and even have crazy sex with crazy Cameron Diaz, whom he tells his best friend (Jason Lee) is his “f*** buddy.” David begins to see a softer side of life with the entrance of bouncy and lively Sophia (Cruz) and contemplates that he might be really falling in love for the first time. But this happiness doesn’t last long as jealous Diaz picks up David in her car then speeds it off a bridge killing her. Then things get sticky including David’s disfiguration, his attempts to regain that one night of budding love and a supposed murder that he committed.
Crowe is in over his head with this territory. His knack for wonderful exchanges of dialogue and the perfect song to place over a scene are intact, but cannot help him with this mess. Vanilla Sky is an awkward mish-mash of science fiction. The film’s protagonist is standoffish for an audience and many of the story’s so-called resolutions toward the end are more perfunctory than functional. The ending as a whole is dissatisfying and unimaginative. By the time the wonderful Tilda Swinton shows up you’ll likely either be asleep or ready to press the eject button yelling “cop out!”
Seeing Vanilla Sky has made me want to hunt for Amenabar’s Abre Los Ojos and see what all the hype was about, because if it is anything like its glossy American counterpart then I have no idea why world audiences went wild for it.
Nate’s Grade: C
Reviewed 20 years later as part of the “Reviews Re-View: 2001” article.
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Not Another Teen Movie (2001)
Spoofing is often believed the cheapest and lamest form of comedy. One runs jab after jab, and gag after gag relentlessly hoping that some hit but content that if they don’t more will follow with the potential to. But many of the jokes in a spoof aren’t textured; there’s nothing below their surface. Spoofs can be done well or they can be embarrassing and wretched to sit through. Count Not Another Teen Movie in the latter category.
At John Hughes High School (can you feel the parody, can you?) it’s life as we know it for stereotypes and clichés. The Bitchy Cheerleader has just dumped the Popular Jock and the Cocky Blonde Guy has initiated a bet that PJ cannot turn anyone into prom material. The men size up their choices, including an albino girl singing about her lost pigmentation (one of the few funny gags), and decide on the Pretty Ugly girl who is beyond all hope with her glasses and ponytail. Meanwhile, the Cruelest Girl is trying to find a way to seduce her brother, the Popular Jock, a trio of Virgins try and, what else, lose their virginity, and the Best Friend with Hopeless Crush tries to work his klutzy charm.
In a genre full of Freddie Prinze Jr.’s greatest hits (or misses, however you want to look at it) a parody wouldn’t be too difficult to prescribe. All too often the film has no edge and falls back on scatological humor as its savior once too often. An exploding toilet and a flying vibrator can only do so much. There has to be things behind it. Alas, there is nothing. For every one part funny (a character tries to find the right moment to start a slow and building applause) there are three parts inane, satirically flaccid, crudely useless, or bordering on exploitative (the foreign exchange student who drapes around completely nude the entire film). The jokes arrive many times cold and require a good deal of familiarity with the subject material it’s spoofing. NATM seems to not think too greatly of the audience for it. The film continually seems to explain jokes after they happen or reacquaint the audience with the source for spoofery. The worst example may be that the movie has to SHOW a character watching a scene from ‘Pretty in Pink’ mere seconds before it spoofs that very scene.
The movie, as a whole, has about six good gags and bits but the rest is watch-checking time. Some comedic threads don’t even get the proper treatment to become good jokes. The Token Black Guy’s introduction is rather funny, but then all he does in the film is repeat the words he said he could only say. Now, if the other characters had begun to question this law of teen movies, and asked him questions then this idea could have been ripely handled. As it stands it’s another joke in a line of jokes that go nowhere but we keep going back to repeatedly.
The flick was directed by Joel Gallen, marking his film debut after years as an MTV producer. Gallen shows no finesse when it comes to comedy as everything is rammed into the ground. His film is a spoof with nothing to do, much like the bad but better Scary Movie 2 earlier this year. Jokes come and go but they serve no purpose in moving things along or setting up greater jokes. This is comedy lost in the woods.
NATM is an attempt to satirize the teen genre, which should have been a rather easy job to do but instead just becomes another sad addition to it. And a rather poor and limp addition at that. NATM doesn’t know that the audience isn’t laughing with it but at it.
Nate’s Grade: C-
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In the Bedroom (2001)
In the Bedroom hits all the right notes of agonizing pain, devastation and loss. The heart of the film is on the grief encompassing Matt and Ruth Fowler (Tom Wilkinson and Sissy Spacek) over the loss of their son. The Fowlers are well regarded in their cozy New England town. Matt is a flourishing local doctor and Ruth teaches a chorus of local high school girls.
In the Bedroom opens with Frank Fowler (Nick Stahl) chasing his older girlfriend Natalie (Marisa Tomei) across an open grassy field. Frank is a budding architecture student home for the summer and thinking of prolonging his time so he can stay together with Natalie. Frank and Natalie have a distinct age divide but also seem to have been given different lots in life. She has a pair of boys from her abusive husband Richard (William Mapother) that she is finalizing a divorce from. Richard is hopeful he can reconcile with Natalie if he just gets another chance, but Natalie is stern in her refusal.
Ruth sees the relationship as a detriment to her son’s future. She’s even more upset that Matt is so casual with their son dating an older, working-class mother. Frank rushes over to calm Natalie after another of Richard’s outbursts of violence has left her house in shambles. She rushes her children upstairs just as Richard returns back. He manages to sneak in through a back door and confronts Frank in their kitchen, shooting and killing him. What should seem like a clear-cut case begins to unspool. Natalie admits she didn’t actually see the gun fire and the charges are dropped from murder to manslaughter. Richard is released on bail and free to stroll around occasionally bumping into the grieving and outraged Fowlers.
The majority of the film is the aftermath of the murder and the strain it puts upon Matt and Ruth and their marriage. Beforehand jealousy, anger, and bitterness would simply sit but slowly the tension begins to bubble to the surface. Ruth holds resentment and blames the leniency of Matt for the death of their son. Matt tries to get out of the house as much as possible, even if it means sitting in his car in their driveway at night.
One of the most harrowing scenes of In the Bedroom is also its emotional and acting centerpiece. After the mounting frustration with justice, Ruth and Matt explode into an argument that had slowly been building long before their son’s death. This is the first time they have truly talked about the whole situation and accusations fly like bullets in their first emotional confrontation. In the Bedroom could have easily fallen into the area of sticky made-for-TV land, but the exceptional performances all around by the cast and the deft and studied direction never allow it to falter.
Spacek (Carrie, Coal Miner’s Daughter) can begin writing her Oscar acceptance speech right now. Her portrayal of Ruth displays the pride and seething anger, but keeps her human throughout. She exhibits pure, raw emotion that strikes directly inside you leaving a knot in your stomach and in your throat. Her performance is truly breathtaking and so emotionally visceral to watch. Wilkinson (The Full Monty) plays Matt with passive-aggressive doubt and repression. He dominates in any scene he is in and takes the audience on a wide range of emotions. He has a commanding presence and compliments Spacek’s Ruth nicely. Perhaps the greatest thing Tomei (My Cousin Vinny, Slums of Beverly Hills) was known for was miraculously winning an Oscar and dumbfounding a nation. With ‘In the Bedroom’ she is given the ubiquitous “And” credit at the end of the opening cast list. She has less to work with and less screen time to work it, fully earning the “And”‘ credit she has.
Todd Field is an actor-turned-director and has appeared in such a wide array of films from Twister to Eyes Wide Shut. Field has layered his film with rich symbolism and an intelligent, patient pace. Most of the action in movies is centered on what is going on in a scene, but the most telling moments of In the Bedroom are what are not going on in the scenes. Field creates such an intimate portrait that the camera almost turns into another character, catching the lingering silences and the burgeoning inner turmoil. Field also adapted the screenplay from a short story by Andre Dubus, whom he dedicates the film to.
In the Bedroom is not going to be for everyone. Some will find it slow and some might even find it boring. As it stands, it is a powerful film on the study of loss that grips you and refuses to let go. You will feel all the blame, jealousy, anger, and pain of this family and for such emotions to resonate from the screen to the audience is a great achievement.
Nate’s Grade: A
Reviewed 20 years later as part of the “Reviews Re-View: 2001” article.
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Harry Potter and the Sorcerer’s Stone (2001)
If you don’t know about Harry Potter at this point you must be living under a stone, perhaps a Sorcerer’s stone. The little tyke with glasses and a lightning scar has become a sensation across the seas and of course a big budget movie was merely just a matter of time. The imagination of author J.K. Rowling is bustling with a complex world that has given her acclaim from children and parents all over, not to mention made her filthy rich. The movie is a meticulously faithful adaptation but this is both its strength and its weakness.
The story of Harry Potter is a long and complicated one, full of numerous funny names as well. Harry (Daniel Radcliffe) is an orphan living with his nasty aunt (Fiona Shaw) and uncle (Riachard Griffiths) who force Harry to live under the stairs. Harry is informed one night by a gigantic and bearded figure named Hagrid (Robbie Coltrane) that both Harry’s parents were magically inclined and he is to gather his own education at Hogwarts School of Magic. On his way there, after picking up supplies in a special place I have forgotten totally the name of, Harry meets and befriends the aloof Ron Weasley (Rupert Grint) and the Type-A studious Hermione Granger (Emma Watson). Once there Harry picks up a rival in Draco Malfoy, a cold glare from Professor Snape (Alan Rickman), a good scare from a poor CGI three headed guard dog, and a mastery in the art of broomstick flying. The school sessions are a barrage of characters and minute plot points that readers will just be grinning that have been included.Through later revelations it is divulged that Harry’s parents were killed by the powerful wizard Lord Voldermort. It seems that old Voldy for whatever reason decided not to kill Harry. Thus because of this Harry has worldwide fame as the boy who lived against Voldermort. It seems as well that this evil wizard is trying to achieve immortality by using the advantages of the hidden Sorcerer’s stone. It’s up to Harry and his friends to stop this from happening.
Chris Columbus (Home Alone, Mrs. Doubtfire) wrestled this franchise away from such directorial heavyweights like Spielberg, and it’s clear to see why he was selected. Rowling ordered the movie adaptation to be completely faithful to her book, and Columbus is a director with no remarkable visual flair or distinct vision. Everything that is occurring is so faithful to the book that it has no individual flavor or distance. It’s directing with your hands tied, which is fine for most people. With this project he seems like he is basically a go-between with Rowling and the studio suits. Basically it should be Rowling’s name for the director’s credit because she’s the one with the vision being translated.
Large portions of this film need to carried by the acting of several of its young stars and it’s quite a 120 million dollar weight. For the most part the child actors in Harry Potter deliver. Emma Watson is the standout as Hermione, with her extra energy and enthusiasm in every step and every smile simply winning over the audience in spades. The only real detraction acting wise in the entire film is, unfortunately, the star. Daniel Radcliffe plays Harry in a very stiff manor and spends most of the film looking overly subdued. After you experience more time with the other characters in the film one realizes how frightfully dull the character of Harry Potter really is. Any of the characters would be more exciting to watch than Harry. As characters go, he’s about as interesting or entertaining as stereo instructions.
Harry Potter contains an all-star all British cast for the fanciful faculty of Hogwarts. Everyone seems so meticulously cast that they were born to play these roles. Richard Harris becomes a gentle grandfatherly figure as the headmaster. Robbie Coltrane is a large and lovable figure that the audience can rely on again and again. Richard Griffiths is so over-the-top in a very entertaining light. Alan Rickman owns every scene he is in with such a snarling and full-of-life presence. He is perfect, as is most of the adult casting.
The most exciting moment of the film occurs during a match of Quidditch, which is basically like rugby in the sky. Two teams on broomsticks whiz and zoom around one another in a fierce aerial competition. At this moment Columbus can declare himself the true director. The entire sequence is done that it perks the viewer’s imagination and also provides great moments of excitement. Seeing the scene itself was a testament to the wizardry of special effects.
The length of Harry Potter and the Sorcerer’s Stone clocks in around two hours and thirty minutes, which might seem like an eternity to small children if they weren’t so overly obsessed with the book series. The film is structured more like a novel than a screenplay (again with the induced restrictions), so instead of a usual three-act system it has moments that drag and moments that seem to go on endlessly (like the final near obstacle course the three kids must go through). The entire first hour or more is set-up explaining all of the characters and the world they inhabit, then they just sneak in a mention to the Sorcerer’s stone toward the end and introduce our titular story line. Hopefully, with the set-up out of the way now, the next movie will be a tad shorter.
Harry Potter is a worldwide phenomenon that is already breaking box-office records and parents’ bank accounts. The first four books have been optioned by Warner Bros. so expect to see an armada of kids dressed up in Halloween costumes around Thanksgiving for the next few years. Harry Potter is a fairly light-hearted but entertaining venture that I wouldn’t mind revisiting and reacquainting every now and then like an old friend.
Nate’s Grade: B
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The Man Who Wasn’t There (2001)
The Coen brothers dark, twisty entry to the world of film noir looks mind-blowing with its black and white lensing. And the story is great too. Billy Bob Thronton plays a barber who gives new definition to the word passive. One day a customer lets him in on an up-and-coming financial project and if Thronton were to provide some dough then surely he would rake it in. As with most film noir, the normal man is thus pulled into the web of intrigue and crime. The ball gets rolling after Thornton blackmails his wife’s tryst (James Gandolfini), who also happens to be her boss and his friend. Things get far more complicated from there and nothing seems to go right as Thornton makes one bad decision after another. The Man Who Wasn’t There is an engaging and smart drama with game bits of comedy strewn at key moments. The Coen brothers are a pair not very easily topped when it comes to excellence in films, and this latest entry is a wonderful addition to their resume.
Nate’s Grade: A-
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Monster’s Inc. (2001)
Pixar are the animation titans who have been delivering first-rate pictures under the Disney banner for the last five/six years. The placement of their name is like a seal of quality, unlike the placement of the Disney name. Monsters Inc. is the latest and it’s crammed full of humorous jokes and lively imagination that can propel it forward despite the bad score by Randy Newman.
Monsters Inc. is a corporation in a monster universe that trains its workers to enter the bedrooms of sleeping children and derive scares for resources. Their monster world is powered by the screams of children and it seems times are getting tougher. Children are becoming harder to scare (blame CNN) and it seems an energy crisis is looming. The pressure is on for the big blue bear that is James P. “Sully” Sullivan (John Goodman). Sully is close to achieving the all-time scare record with the aid of his assistant Mike (Billy Crystal), a small one-eyed green guy. But their scare colleague Randall (Steve Buscemi), a bad tempered purple reptile, is nipping at Sully’s heels.
The clever twist of Monsters Inc. is that these frightful creatures, some with spikes and some as many eyes as Elizabeth Taylor ex-husbands, are as afraid of children as they are of them. Reportedly their touch is toxic and possibly fatal. A single sock getting stuck to one unfortunate monster on his return causes an entire decontamination unit to spring forward. The joke is both alarmingly timely but also a great visual gag as all the different shaped monsters fit into their suits.
One night Sully accidentally lets a small toddler enter their world. He fears what the ramifications of this outbreak might be and struggles to keep her presence under wraps with the help of Mike, but Boo (as Sully dubs her later) is more than an adorable handful. The pair get into a mess of trouble and constantly trying to keep Boo clear of contact.
John Goodman provides a great performance as the sweet and cuddly Sully. His demeanor is one that warms him to the audience. Crystal provides some good laughs and walks a very fine line of going overboard into his usual borsch belt humor. Buscemi has the menacing voice that gives Randall life. The real star is Boo, whose actual voice was provided by one of the animator’s own kids. Every coo, every laugh, every word she says is full of such glee that it’s uncontrollably cute. She’s almost an overpowering force of cuteness.
Late into the story it tries to go for something below the surface by having Sully see the consequences of his profession. His attachment to Boo is a bit far-fetched in the great speed it occurs and the groan-worthy happy ending is a miscue that could have been ripe with possibilities.
The animation of Monsters Inc. is nothing short of flawless. Something Pixar does better than any studio is fluidity of movement. At times during Shrek the characters are a tad stiff or blocky in their movements, but with ‘Monsters Inc.’ every gesture, every wavering hair on Sully, it’s all wonderfully fluid. Pixar are marvels at what they can do with computers and Monsters Inc. is another impressive chink on their already impressive belt.
The film lacks the heart of a Toy Story but doesn’t lack in imagination. The whole concept is very inventive and reconfirming of the suspicion we all had as kids. A sequence late into the film where Randall chases Sully and Mike through a vast area with thousands of doors on rails is the true highlight. This scene is awe inspiring and a head rush by the majestic care put into it and the comic payoffs it has. It’s a chase scene that’s worth following.
Monsters Inc. is funny enough and creative enough to be well worth a viewing. It lacks the subtext and human emotion of the two Toy Storys, but is still entertaining in its own right. My grandma described it as the movie “with the talking M&M.”
Nate’s Grade: B+
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The Deep End (2001)
In the vast wasteland the summer has become of mediocrity and sub-mediocrity, go to your local art house. There you may very well see The Deep End, a dramatic thriller that burrows itself into the audience’s mind. The film is an absolute breath of fresh air in the stagnant summer finally winding down.
Tilda Swinton plays a normal mother living on the banks of Lake Tahoe. Her days usually consist of trying to ship her kids to school on time and handle the duties of the home in the long stretches her Naval officer husband is gone. She’s juggling responsibilities and chores when her first strike of maternal protection occurs. Her 17 year-old son is, to her great surprise, in a relationship with a sleazy man in his 30s. She discovered this when her son got into a serious car accident while this paramour was traveling with. The scene of the crash is replayed in flashbacks for Swinton as a motivational jump-start for her protection and love.
She tells the man she doesn’t want him seeing her son any longer, but of course he refuses to desist… unless the price is right. This revelation sends her son to a late night confrontation at home that ends in the accidental death of the sleaze. Mom sees her son rush back into the house in the middle of the night and decides to go out and investigate. On her stroll to her horror she finds the dead body of her son’s lover. From that moment on something in her clicks and she clumsily tries to hide the body and any evidence that could incriminate her own brood.
Just when she believes her headaches are over a dark and handsome stranger (Goran Visnjic) visits her one day. He has within his possession a videotape of her son having explicit sex with the dead lover. He threatens to turn the tape into the police and thus destroy the peace Swinton has created. The video can be hers, but she must pay him and his unseen partner the sum of $50,000.
Tilda Swinton is best known as the gender-swapping title figure in Orlando based upon Virginia’s Woolfe’s story. The Scottish actress has a wonderfully pallid face and soulful eyes that express every moment the determination and fear she wrestles with. Swinton gives a remarkable performance of pure emotion. She is a mother determined to protect her son and family at every cost, no matter the means. She is constantly in over her head but refuses to relent. Swinton’s portrayal is a woman running on maternal instinct and she herself is the very gravity that makes The Deep End as great as it is.
Goran Visnjic currently plays a Croatian doc on E.R. but has a provocative presence in this flick. He’s got the smoldering good looks and his character opens up more and more as the tale progresses to strip away pretensions layer by layer.
The Deep End is directed, written, and produced by David Siegel and Scott McGehee, with only one other film to their credit all the way back in 1993. They inject their story with great moments of character and suspense but also have a terrific visual eye to create mood. The cinematography is lush and hypnotic with certain moments of exquisite beauty. Even the music adds to the feeling of the film unlike so many other accompanying scores. Every component of ‘The Deep End’ is just clicking.
The Deep End is a luminously tight thriller with remarkable performances. They story has a few implausible moments but outweighs them with heapings of great dramatic depth. Swinton better be one of the first choice on everyone’s lips when the name of Oscar rolls about, because I doubt I’ll see a performance more elegant and wonderful as hers this year.
Nate’s Grade: A
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