Blog Archives
Then She Found Me (2008)
Actress Helen Hunt’s directorial debut is an altogether pleasant film experience without achieving anything memorable or truly accomplished. It’s a simple story of a 40-something grade school teacher (Hunt) torn between her man-boy husband (Matthew Broderick) and a student’s hot father (Colin Firth, who seems to be a middle-aged woman’s dream come true). The extra plotline where Hunt discovers the identity of her biological mother (Bette Midler) never truly seems to coalesce with the romantic foibles. Then She Found Me has a noticeably wry tone, like that of a world-weary adult that’s been-there-done-that. That specific and welcomed tone helps keep the viewer alert and mostly satisfied from beginning to end. It isn’t a warm or sappy movie despite some sitcom-level plot complications. The acting is fairly amusing, though somewhat one-note (the foursome of actors rarely break from the one-sentence descriptions of their characters). The most shocking aspect of the flick is how weathered and gaunt Hunt looks, which is a refreshing and realistic turn for the actress. Hunt is competent behind the camera but doesn’t prove much else when it comes to directorial skills. Then She Found Me is a mildly affecting movie that passes the time well. Stick around to catch acclaimed author Salman Rushdie as Hunt’s OB-GYN.
Nate’s Grade: B
Fantasia 2000 (2000)
The first updating of long gone Walt Disney’s dream anthology hits the IMAX screens in a resounding fury of classical music and first rate animation. Like its predecessor though, it’s uneven in its quality. Some segments are more impressive or creative than others. In the 2000 redux the best of the best would be characterized by “Rhapsody in Blue,” a Gershwin blues number brought to stunning life by characters of simplicity yet definition. The animation on each is commendable and different from the next segment to follow it. “The Sorcerer’s Apprentice,” the only segment from the original to be included, shows its wrinkles and grain more than ever when blown to IMAX’s wide canvas. The standout, to me anyway, was clearly the final segment closing the just-over-an-hour animated orchestra called “The Firebird.” The imagery and animation are so sleek and beautiful that I thought I was going to break down by how stupendous the artwork was. This is a tale that leaps from the screen and lets you share some of the beauty with it – further enhancing the festival of the Mouse. Without these stand alone segments this ballet of song and ink would be rather adequate and nothing more, but with the addition of these two marvelous segments it becomes something worthwhile… at least for 20 minutes. Hey, it’s the most exposure classical music will get on the youth of today.
Nate’s Grade: B




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