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Weekly Favorites Film Reviews
By
Rachel Sexton
This column is
dedicated to reviews of classic films and my favorites over the
last few decades. Feedback is appreciated.
Friday, April 16, 2004
Go
(1999 / 100 Mins. / Rated R)
 Directed by
Doug Liman
A Young
Ensemble Brings to Life an Exhilarating Story
Much of the
influx of teen films in the late 90s and early 00s were somewhat
entertaining but forgettable, too. The biggest exception is this
bitingly funny, satirical crime-infused ride. With excellent writing
from John August, singular direction from Doug Liman, and memorable
performances from a youthful cast, GO is a film that stands
well above the rest of the teen films.
GO
is the story of grocery workers Ronna (Sarah Polley), Simon (Desmond
Askew) and Claire (Katie Holmes), soap actors Adam (Scott Wolf) and
Zack (Jay Mohr), a cop (William Fichtner), cool guy Marcus (Taye
Diggs), and drug dealer Todd (Timothy Olyphant). Over the course of
one night, their lives intersect in various funny and unexpected ways.
Ronna needs to make extra money or she’ll be evicted, and she ends up
getting on Todd’s bad side. Adam and Zack are gay but with much larger
problems to deal with. At the same time, Marcus does his best to keep
Simon’s shenanigans in Las Vegas under control. I can’t describe every
turn of the plot, just see the film.
The first thing
I want to praise about this script is its narrative structure. It
takes place over the course of one day and night from three different
perspectives. After one story, the film goes back to the same point
and follows a different character. Also interesting are the techniques
director Doug Liman uses to distinguish scenes in every story by
employing different camera angles.
As far as the
plot goes, this film is successful. The establishment of the situation
each character is in works as does the rest of the plot progression.
It’s a bit unpredictable at times. The humor in the script is very
effective and is of the hard-edged variety, which creates a unique,
sharp tone that presents itself in the plot. There are frequent
laugh-out-loud moments, such as Simon’s encounter with two bridesmaids
and Zack’s attempt to get Adam through a tough situation. I also like
Marcus’ obvious high sophistication compared to his friends. There are
other things I enjoyed, too, like the Todd and Claire interaction.
The production
values for this film are good as well. The locations feel authentic
and the costumes are what they should be. Best of all, though, may be
the music, especially the songs used for the soundtrack. The most
memorable of these is perhaps Steppenwolf’s “Magic Carpet Ride” which
accompanies an exciting car chase.
The main
characters are Ronna, Simon, and the pair of Adam and Zack, but this
is really an ensemble. The strong supporting characters are another
outstanding feature of this script, and all the actors take advantage
of the opportunity. Sarah Polley as Ronna is solid, as are Scott Wolf
and Jay Mohr. Katie Holmes also holds her own. Timothy Olyphant may be
at his best here, and Taye Diggs is my favorite. He just really exudes
the smoothness the character requires.
Even with
subject matter that I don’t typically enjoy, GO is an
incisively funny and exciting film with exceptional direction and a
stellar ensemble. This film is one of the best of the flood of
teen-oriented films made in the late 90s. An unusual structure is only
one of the highlights of this film, which should appeal to both
genders and possibly all age groups.
Film Rating:
4.5 out of 5
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May 28, 2004
10 Things I
Hate About You
(1999 / 90 Mins. / Rated PG-13)
 Directed
by Gil Junger
In March of 1999, The Matrix was fast becoming a hit, but
another film occupied theaters the same weekend. It was a modest
success and is one of the better teen comedies to be part of the
boom of teen films during that time. Best of all the film
introduced audiences to two actors who would go on to become two
of the next generation's bright spots. The film was 10 Things
I Hate About You and the stars were Heath Ledger and Julia
Stiles.
A
short plot synopsis goes like this: In a teen reworking of
Shakespeare's The Taming of the Shrew, wildly popular sophomore
Bianca Stratford (Larisa Oleynik) isn't allowed to date until her
antagonistic senior sister Kat (Stiles) does. Both sweet Cameron
(Joseph Gordon-Levitt) and macho Joey (Andrew Keegan) want to date
Bianca so they join forces to pay school bad-boy Patrick (Ledger) to
take out Kat. Need I tell you the two really fall in love? Need I tell
you Kat finds out about the payment? Need I tell you there's a prom
scene? The story may be on the predictable side but this film is still
a cut above most other teen comedies.
Screenwriters Karen McCullah Lutz and Kirsten Smith should be
applauded for jazzing up a familiar plot with distinct characters,
especially the high school faculty, and dialogue that at times zings,
especially the exchanges between Kat and Patrick. The comedy in this
script rarely misses. Larry Miller plays the Stratford dad and he is
hilarious, as is The West Wing''s Allison Janney as Miss Perky,
the romance novel-writing guidance counselor, and Darryl Chill
Mitchell as Mr. Morgan, the rapping English teacher. One of the most
gifted comedians in the cast though is David Krumholtz, playing
Michael, a classmate who befriends new kid in school Cameron.
As
with many teen films, romance is the central topic and 10 Things
also excels in this area. Stiles and Ledger have a chemistry that
defines "fiery lovers" and their separate performances are successful.
The scene where Patrick serenades Kat is truly memorable (and every
girls’ dream). There is a touching moment near the end of the film
where an assignment to rewrite one of Shakespeare's sonnets turns into
an outlet for Kat's pain about Patrick's betrayal. Romance and realism
are the treats of this script.
The production values here are noteworthy as well, especially the
eclectic mix of songs used on the film's soundtrack. A couple of bands
actually make appearances in the film. Also, stay tuned for a gag reel
over the ending credits. It's just as funny as the rest of the film.
10
Things I Hate About You
combines many outstanding elements to result in one of the best recent
teen comedies. To pun on the title, you'll find more than 10 things to
love about this film.
Film Rating: 4
out of 5
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Friday, April 9, 2004
Usual
Suspects, The
(1995 / 106 Mins. / Rated R)
 Directed by
Bryan Singer
Keyser Soze Manipulates a Captivating Criminal Caper
Who is
Keyser Soze? The answer to that question provides the payoff for
one of the most entertaining crime films ever. The figure of the
criminal mastermind has been a staple of the film noir genre,
and in this film is taken to a new direction and combined with a
plot that never gets boring. Thanks to plot, performances, and
an ending that is truly unforgettable, The Usual Suspects
is a film that is not to be missed.
In The Usual
Suspects, five criminals are rounded up by the New York police
about a carjacking. They are ex-cop Keaton (Gabriel Byrne), McMannus
(Stephen Baldwin), Fenster (Benicio del Toro), Hockney (Kevin Pollak),
and Verbal (Kevin Spacey). When they are released they decide to pull
a job together. This leads to some more jobs and they soon realize the
mythical crime lord Keyser Soze is controlling the entire situation.
By the end of their last job, on a boat near the L.A. port, Soze kills
them all except Verbal, who is left behind and narrates the story in
flashback to the cop investigating the case (Chazz Palminteri). Is
there really a Soze? If so, who is he? That is the central mystery of
The Usual Suspects.
There are so
many things to praise about this film, where do I start? Well, the
script by Christopher McQuarrie is excellent. An authentic
representation of the criminal world is the basis for a storyline that
couldn’t be better. The dialogue is memorable and meaty, and there is
some great humor here as well. Particularly great is the lineup scene,
which you “will” laugh at, and the scene featuring FBI agent Behr with
the Hungarian hospital patient. What is most notable, though, is the
way the details support the themes of the film. For example, the
criminals participate in four jobs together, each at/in a location
involved with transportation. Small surprises in the plot indicate
that this is a story where nothing is what it seems.
Now, about that
ending, I won’t give it away except to say “wow”! I will also say that
on my second viewing, the film becomes even more rewarding because of
the small hints placed throughout the script. You realize you should
have known who Keyser Soze was all along. This all connects to the
major theme of one man getting others to do what he wants.
Bryan Singer’s
direction here is outstanding. So many examples of the composition,
uses of lighting and music, and camera work Singer employs are
exemplary. He crafts an attention-grabbing opening and a great finale
montage. John Ottman is to be singled out for his prowess at both
scoring and editing.
The performances
here are a huge reason for the success of the film. Baldwin is at his
best and Pollak is always good. Del Toro shows some of the fire that
would later win him the Oscar for Traffic, though, oddly
enough, he is given a more comedic role here. Listen to him mumble!
Byrne is great, doing world-weary like no one else. Palminteri is a
reliable tough guy as well. No one outdoes Kevin Spacey, however, and
he won a well-deserved Oscar for his role.
I could go on
and on about the film, especially if I were to reveal its ending, but
I don’t have the space here. Just see The Usual Suspects if you
haven’t already, or go back to it and see if there’s anything you
didn’t notice before. With its amazing story, performances, and
resolution, there very well could be.
Film Rating:
4.5 out of 5
Friday, April 2, 2004
L.A.
Confidential
(1997 / 138 Mins. / Rated R)
 Directed by Curtis
Hanson
James Ellroy’s
Intricate Crime Novel Comes Brilliantly To Life
Film
noir is a genre that thrived in the black and white era of the 30s and
40s. As both Hollywood and society have evolved, the characteristics
of film noir have as well. There are basic elements all entries into
the genre have in common. The most recent film that is the best
example of classic film noir with modern sensibility is L.A.
Confidential. A rich atmosphere, dense narrative, and outstanding
performances make L.A Confidential a modern classic.
Based on James
Ellroy’s complex crime novel, the film is set in the late 50s and
focuses on three Los Angeles police officers; Bud White (Russell
Crowe) is an officer with a hatred for wife-beaters, Edmund Exley (Guy
Pearce) is ambitious, smart, and uptight, and Jack Vincennes (Kevin
Spacey) is the seasoned veteran who advises for a TV show and takes
payoffs for providing Sid Hutchins (Danny Devito) at Hush-Hush
Magazine with inside stories. Their investigation of a multiple
homicide at a diner leads to many other crimes, involving
prostitution, corrupt city officials, and organized crime.
The first noir
element that stands out about this film is its narrative density. The
brief plot synopsis above doesn’t come close to covering all that
occurs in the film. I haven’t even covered the romance between Bud and
call girl Lynn (Kim Basinger), missing heroin, or a case of police
brutality. I call this a “No Break” film—no popcorn or bathroom breaks
because you will miss something important. This quality is
common in noir films and I find it refreshing.
There is also
the typical noir tone of nihilism and distrust. No one is a completely
good character, but that makes them well-rounded characters. Finally,
though the bad guy is defeated and the good guys live, the attitude of
bureaucrats in charge of the police department hint that leaders still
can’t be trusted. It’s not a typical happy ending, which is also a
noir feature. The film also has the modern style of being more graphic
with violence, sexual situations, and themes, plus various plot points
are unpredictable. There is a humor to some of the dialogue that is
modern as well.
Curtis Hanson’s
direction is one of the film’s highlights. He works with cinematographer
Dante Spinotti, editor Peter Honess, and artistic directors to create a
very detailed atmosphere. Everything feels authentic to the setting,
from the costumes to the realistic locations, and especially the use
of period music on the soundtrack. Hanson also uses other memorable
directorial choices. The opening montage with nostalgic footage and
voice-over is a striking beginning, and the use of camera work and the
score in the scene where the diner homicide is discovered is
particularly outstanding.
L.A.
Confidential
is more of an ensemble piece and all the actors are thrilling. Hanson
proved his 20/20 foresight when he cast then-newcomers Crowe and
Pearce in the larger roles. They are excellent, well cast, and a
surprisingly adept team. Basinger won a well-deserved Oscar and Spacey
is, of course, a no-brainer. DeVito is a treat, providing a lot of
humor, and I haven’t even mentioned James Cromwell as police Captain
Dudley Smith or David Strathairn as shady millionaire Pierce Patchett.
Yes, this is truly a dream cast.
A brilliant
piece of filmmaking in the film noir tradition, L.A. Confidential
enthralls thanks to the talents of director Curtis Hanson,
screenwriter Brian Helgeland, and the perfect cast. This film is what
happens when script, acting, direction, and production values become
as flawless as possible. Both classic and modern, the film represents
the best recent entry in the film noir genre and should entertain
audiences.
Film Rating:
4.5 out of 5
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