gellis

I was glued to the tube both times this aired, ignoring children and classwork and what-have-you, and managed to tape it neither--the second time as they saw fit to confuse us with a name change, which made me miss the first episode. It is adult soap opera, complex and engrossing, with Sam Elliott at his "Lifeguard" best--before the cowboy roles came to dominate his acting career. It was similar to seeing Judd Hirsch in "The Law," another 'mini-series' where you knew the lead was an actor who would be around for quite some time.

I check periodically to see whether or not the 'powers that be' have seen fit to put out a tape or DVD of either of these great mini-series from the 1970s. Alas, not yet. Here's hoping. I'd gladly pay a small fortune to see either again.

...this film noire set piece suffers from murky sound (at least, as shown on the inadequate equipment of both the Seattle and Maine film festivals) and murkier plotting, while Rickman suffers from an American accent, old tennis shoes and baggy sweats. Nonetheless, he has moments of stellar scenery chewing, and the film offers sinister ambiguity from Norman Reedus, the pretty Polly Walker, and a surprise ending (telescoped to frequent filmgoers), while affording a beautiful look at the physiography of both Maine and Rickman. Due out in video release (after a cable airing) in March. Not to be missed by any Rickman fan. Ignore the amanita hooey.

I flew to Toronto to see the premiere of the final theatrical release version (thanks, Lions Gate!) of this latest entry from Kevin Smith. A very funny film, it appeared to be more appreciated by the older, 'second showing' crowd at the Toronto International Film Festival than by the 20-something opening night bunch. One wonders if they better recognized the multiple movie and several television references that pepper the film. As testimony to the work of young director/writer Kevin Smith--or perhaps to the religious controversy and Catholic League opposition engendered by this film--it was sold out on both occasions. Mr. Smith, very humorous and personable, was on hand to deftly handle questions. In spite of his avowals of this film being a testimony to his Catholic faith, it has received a well-deserved "R" rating (for "strong language including sex-related dialogue, violence, crude humor and some drug content"). Obscenities are less gratuitous than in his previous "Chasing Amy," and Jay's (Jason Mewes) final remarks to God (Alanis Morissette) are obscenely hilarious. The highlight was another stellar performance from Alan Rickman, as Metatron, the Voice of God ("I am the Metatron, herald of the Almighty, and Voice of the One True God") whose skill is truly remarkable in illuminating the occasionally otherwise tedious exposition required to advance the plot. He inspires with touching paternal tenderness as Bethany's mentor--walking on water the while--and fully redeems the ludicrous display of his Ken-doll physiology and angelic Tequila quaffing earlier in the film. Smith himself, as Silent Bob, has a larger role than in his previous films, dispatching the Golgothan and retrieving the body of the slain Bethany (Fiorentino). He and the "Good Will Hunting" boys--Matt Damon and Ben Affleck--plus the rest of the locker room crew seem at times to be in a very different movie than are Rickman and Fiorentino. But, in the last analysis, it is an extremely funny good time to be had, with special mention of the very effective use of music in this film.