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Virtually all of the recent independent films have risen above the abyss of the unknown and into glory through their attention to character over plot due in part to budget constraints. Renting `The Good Girl' I was certain that I was about to witness another `little indie that could' not unlike 'In The Bedroom' or `Best in Show.' Instead I was perplexed by the actions of the Jennifer Aniston character Justine Last and though she was the protagonist felt more sorry for her pot-smoking husband Phil (John C. Reilly).

Possible Spoilers

Justine Last (Jennifer Aniston) was unlikable and all of her actions involve painting herself even further into corners. She is a cashier at Retail Rodeo where she almost surely makes minimum wage. She goes home at night and says a few rude words to her husband Phil about his pot addiction before hitting the sheets and doesn't appear to have the intelligence to think her way out her apparent nightmare. The audience never hears her narrate the dismal outlook she has on life and we never get much of a sense of how she ended up in her unfortunate position. Her smart solution is to take up with her colleague, a young 20-something named Holden (Jake Gyllenhaal) and before you know it they are involved in a relationship that consists of little more than casual sex.

Justine is one of those individuals who you loathe because she always wants to play the victim. Instead of thinking up brave and smart solutions to the problem at hand, she goes through all two hours of this tedious and tired film purposefully creating more chaos for herself in an effort to get your attention. You don't feel sorry for her because you assume that she could have chosen to say, go to college or get a job with some potential for upward mobility, rather than find ways to jump into the sack without her husband Phil finding out. You feel even less sorrow for Justine when Phil's best friend Bubba essentially forces himself on her to avoid telling Phil the sordid details of her affair with Holden. Instead of say, kicking him where it hurts, she basically just lays there and takes it.

It doesn't really help that on top of watching an individual who loves to play the victim, your strapped with Jennifer Aniston (a relative newbie in film) in the role as opposed to an actress who excels at playing dumbed down trailer trash like Kelly Lynch, Parker Posey, or Juliette Lewis. What you get with Aniston is a character who is too unintelligent to get out of her situation and who is also too uncharismatic to be liked by the audience in spite of her situation. Jennifer did try harder than any of the other 'Friends' have in their film attempts (hopefully, you were fortunate enough to miss `Serving Sara' unlike me) but she may want to invest in Brad's acting coaches if she wants to be any kind of force further down the road.

When Justine found out that she was pregnant and couldn't figure out which of the three potential fathers was involved, I wanted to scream. This type of plot has been done to the point where it deserves to just rest in peace. I was less than thrilled with the ending in which this pathetic shrew of a woman has a baby and all is well in the relationship with hubby Phil which we were told so many times was doomed. I felt sorry for the child who would most certainly learn that life doesn't really involve working your way out of a mess, but instead stuffing yourself further into a box.

So what was there to admire about `The Good Girl?' I did enjoy the trickle of comic relief brought in by Zooey Deschanel (Cheryl) and the movie may have improved had she played Justine Last. For this to be advertised as a black comedy was ludicrous though they must have been referring to Deschanel's scenes. Also admirable was the work by the always-dependable John C. Reilly. But, there's not much to like here. `The Good Girl' is a bland, unoriginal journey into the hearts of some vacuous characters. And it's not a journey that you would take willingly if you knew what rewards would await you at the end of the painfully long two hours.

5/10

In his review of `Road to Perdition' Roger Ebert took issue with the fact that Michael Sullivan and John Rooney lack the ability towards choice that was so vital to the success of the `Godfather' trilogy. `Road to Perdition' essentially sends the message that these characters have chosen this life of crime and have no way out of their bleak fates. Initially, I didn't exactly heed Ebert's warning that I was about to witness Sophocles rather than Shakespeare but now I see his point. A film where the individual still has some ability to develop his own destiny is much more interesting than one where he does not.

Possible Spoilers

The issues I have with `Road to Perdition' go deeper than Ebert's feelings about why this wasn't `The Godfather.' My biggest concern was the apparent misuse of the entire cast. This is not a habit one usually connects with Sam Mendes after the brilliance he displayed with 'American Beauty' and hopefully this won't become a pattern. I especially felt that Paul Newman (John Rooney) was wasted. Rooney is a mob boss who can be very kind or amazingly evil depending on how his day is going. He spends a huge chunk of the film spouting out Corleone style proverbs like 'Sons were put on this Earth to be trouble for their fathers.' I was impressed with his character development in the beginning until inexplicably, we discover that he's more concerned with keeping his son Conner Rooney alive and well than with the fact that he's been stealing from John for years. Essentially, everything we knew about Rooney is discredited and he becomes a laughingstock rather than the dark and dangerous mobster we long to see. It was hard to believe that a man who developed his empire in such a tricky business could go from seemingly not allowing anyone to stand in his way to his ultimate fate in which Michael (Tom Hanks) simply walks up and pulls the trigger just after Rooney asserts that he's glad it had to be him doing the deed.

Initially, I was thrilled to see Tom Hanks playing against type as the clever and daring Michael Sullivan. But Sam Mendes and his team didn't give Hanks much to work with. Sullivan doesn't shed a tear for his murdered wife and son and develops a relationship with lone survivor Michael Jr. out of necessity rather than desire. Scenes in which some character development is allowed where Michael Jr. complains of not being the favorite son and he learns to drive with daddy's input at the tender age of 12 are fine but are needed in bulk. I desperately wanted to hear Michael Jr. yell at his father for allowing the deaths of his mother and sibling to occur, for preventing him from attending school, for basically not allowing him to have a normal life, but they never came. You also never hear Sullivan apologize to his son for everything he's done, even after he tells the boy not to feel guilty about his mother and little Peter. It's as though Sullivan feels no remorse. Tom Hanks does what he can which is much more than what the average actor would have brought to the role, but is not able to provide a revelation with what little he has to work with.

When Jude Law (Maguire) is brought out midway into the film to wipe out Michael Sullivan, it feels as though Sam Mendes simply begged his team to bring him in to add some needed spark. You can just picture him saying Jude Law was so good in `Artificial Intelligence' and we may as well give him a whirl even though it feels like Law is tacked on to aid in the predictable ending. I enjoyed the cat-and-mouse game in the diner where Sullivan and Maguire are trying to out-wit one another but wasn't so impressed with Maguire's extra income from the pictures of his victims. I've never really gotten the impression that the typical mobster adores the act of killing. My feeling has always been that they do it out of necessity as the dirty part of a dangerous but lucrative line of work. Jude Law's character seems to refute this notion and I simply couldn't buy it.

`Road to Perdition' is something I admired but I don't have much desire to see it again and it didn't produce any new breakthroughs into the gangster genre. Conrad Hall's cinematography was thrilling though my heart is still with Todd Haynes beautiful 1957 in 2002 piece `Far From Heaven.' If Sam Mendes had used his brilliant cast more effectively, this could have been the best film of 2002. After awhile though, the constant rain and lack of character development created the downfall of the film. I didn't come away feeling that Michael Sullivan had learned anything new before his tragic end. He was essentially the same man at the end as the beginning, not really wanting a regular job and not really responding properly to the needs of his young son. Still a noble effort and a good follow-up to 'American Beauty.'

8/10

In the so-called year of weak films that was 1989, the most important and relevant film of the century arrived. That film was the masterpiece of Spike Lee's career, a little joint called `Do The Right Thing' which remains mired in controversy but critically acclaimed. Indeed, Roger Ebert continues to stand by it as the best film of the year. The biggest robbery of Academy Award history aside from neglecting `Raging Bull' in 1980 was not even nominating `Do The Right Thing' and instead awarding the far less superior `Driving Miss Daisy.'

Possible Spoilers

After years of putting it off due to anger over the lack of appreciation for `Do The Right Thing,' I made the journey to my local Blockbuster and got up the nerve to rent `Driving Miss Daisy.' I'm even angrier now. What we have here is a very blatant case of Oscar panelists purposefully choosing a movie that barely scratches the surface of the racial divide without having to take the extra leap that comes with awarding the more truthful albeit forceful Civil Rights gem `Do The Right Thing.'

The fact is that `Driving Miss Daisy' was shallow and every tension about race and religion was left under the surface. There seems to be some promise when Hoke (Morgan Freeman) tells Daisy (Jessica Tandy) that her Jewish synagogue was bombed but Hoke never stands up for Daisy's religious beliefs by asserting how evil that event was and it seems to be spoken of only in passing. Similarly, Daisy gets tickets to witness the preaching of Martin Luther King Jr. and invites Hoke at the last minute. I had the feeling that this episode had more to do with her desire for a bond with Hoke than her support for the Civil Rights Movement. Her son Boolie seems to agree with this premise when he questions Daisy's sudden interest in King's message. The episode seems tacked on as a way of giving viewers a timeline for the film and pretending to provide some depth for the very simple story. The scene in the graveyard where the truth about Hoke's illiteracy is revealed was excellent and an entire film could have been created from it, but `Driving Miss Daisy' continues after this scene without so much as an afterthought to the latest developments in Hoke's quest to read.

I know that the other viewers of `Driving Miss Daisy' will discredit most of what I've said with the idea that films should be subtle, and I concur with this notion. Films like `Driving Miss Daisy' are purely delightful when compared with loud bombs and pathetic love stories in `Pearl Harbor' and terrible sound editing in `Armageddon.' But an Oscar-winning film should be original and provocative. It should have more depth than the other films released in that year. It should contain a message that is new and refreshing. `Driving Miss Daisy' contains nothing we haven't seen before and is not daring. Along with `Do The Right Thing,' the nominated film `My Left Foot' contained the formula for an Academy Award and it was wonderful to watch as Christy (Daniel Day-Lewis) learned to master painting with his feet. And yet for some reason, the Academy embraced `Driving Miss Daisy.'

If there is any reason to see `Driving Miss Daisy' it is the performances. Jessica Tandy was truly deserving of the Academy Award as Daisy and I thoroughly enjoyed her fits and initial lack of acceptance of Hoke. I was also impressed with Morgan Freeman, though I got very tired of watching as Daisy and Hoke shared an important conversation like "Hoke, your my best friend," and his only response was "Yes'm." The finale in the retirement home was touching and capped off what I felt was a good but forgettable little film. The film is surely one of the better of 1989 but it's not memorable and certainly not moving enough for Oscar.

7/10

With the sudden death of Stanley Kubrick recently a part of my love for film died along with him as I recognized the unfortunate fact that there was no other director alive to closely heed the call for attention to detail and visceral content. The thought of looking to Steven Spielberg for future answers was almost unbearable as I remembered that his originality often gives way to family fare (The Pinnochio finale of `Artificial Intelligence') in an attempt to pad his already overloaded wallet. I thought about Sam Mendes and cringed as I remembered that for him art was a floating grocery bag with unclever teenagers clamoring around it in `American Beauty.' No one could replace Stanley Kubrick and after the intitial tears I bought his boxed set and tried to make the best out of a bad situation. And it was then that I rediscovered his greatest achievement `A Clockwork Orange.'

What inspired me to watch `A Clockwork Orange' all those years ago was initially it's `X' rating. I knew that mom would have a fit and I had to see why it was so provocative. For the better part of the 1970's it was also banned furthering my desire to see it. I was surprised by the `X' rating until I witnessed the hilarious in-out rape scenes and was somewhat amazed at the blatancy and sheer delight of the slow-motion pummeling of his droogies by the sweet looking but awfully scary Alex De Large (Malcolm McDowell). Upon further viewing a new love and passion grew for the film until I became part of the passionate cult that remains inspired by `A Clockwork Orange' more than any other films on the AFI Top 100 of all time list.

`A Clockwork Orange' was a very sad film for any lawmaker who adores social order and loathes freedom of speech in 1971. The response of lawmakers who banned this critical statement on social order proved their fear by banning it almost immediately though it still managed an Academy Award nomination for Best Picture and Best Director and deservedly so. Ironically, Kubrick's most original piece was a witty and insightful adaptation of the terrific Anthony Burgess novel. I believe that Burgess would have loved what Kubrick did with it. There were subtle changes and Alex ultimately failed to become a do-gooder in the film but it was all for the best. You almost never like the movie more than the novel but this is a film where Kubrick works overtime to bring his imagination to the proceedings and the movie is better than the novel.

With every Kubrick film comes the feeling of eating Turkish food. As a principle Turkish food can be presented with a taste that is somewhat unedible. More importantly is the idea of presentation and the experience requires elegance and an amazing contrast of color. This as opposed to taste makes for quality food. Similarly, Kubrick often shied away from telling a fundamentally coherent plot and concerned himself with the details of visual artistry. `A Clockwork Orange' was his best effort on the silver screen because he was able to finally incorporate a fantastic story with the elegant presentation of color, a task that surely kept him at night as he tossed and turned searching for a perfect balance of the two.

What truly makes this adaptation of the Burgess novel a success, is what Malcolm McDowell brings to the screen. He is Alex De Large and you can't help but kind of adore his urgent needs for a little of the old ultra violence each night as he unexpectedly makes his house calls through the neighborhood and pounces on innocent women. You also can't help but appreciate his interaction with his good old mom and dad as a tiny snicker forms when he insists on not being able to attend school and a sad but sweet look of confusion and sadness innocently appears as his parents introduce him to their replacement son and he finds himself homeless and in need of his droogies. His interactions with his droogies are a delight as he goes from `singing in the rain' to a mad villain beating up the little groupies in slow-motion. There is a sense of sadness as he ironically goes from being Beethoven's number one fan to a botched suicide that leaves him with broken limbs abounding but the same clever smile and good attitude. The finale is quite possibly the best ever in cinema as sweet Alex cannot help but think of a little of the old in-out as the nurses attempt to curtail his ultra violent tendencies. The slow smile that appears on his innocently despicable face is a sheer delight. The incredible accent makes it all the better.

`A Clockwork Orange' was a film that was so far ahead of it's time in 1971. The Kordova Milk Bar was a trendy little place we can only picture existing in the future. The fascinating way that his crime was dealt with could be the wave of the future should the capital punishment issue cause too much disagreement. In short, a little of the old ultra violence is what propelled this film to high rankings and what will eventually allow all of us to allow our children to see it, once their 18 of course.

10/10

Waiting for `Amelie' to begin in a theater fraught with noisy college students drinking cheap beer, I wasn't expecting anything more than an over-hyped flick from our friends in France. I slowly began to realize as I watched Amelie skip stones in the canal that for the very first time, a film deserved all of hype it had been accorded and more, and I felt so blessed to be a part of this revelation.

Possible Spoilers

It's hard to put into words how much I loved `Amelie.' I felt as though I were sitting next to Monet, watching as he effortlessly splashed brilliant watercolors across his canvas. I had this strange but fantastic feeling of being inside the mind of Amelie, seeing everything in the vibrant colors she viewed life with, and wanting to remain there much longer than the two hours allotted. It was just so refreshing to watch a movie where your imagination was free to soar rather than feel confused by the apparent deja vu from last year's first installment of the same pointless drivel.

I almost always loathe films with subtitles as I feel that they get in the way of viewing the characters actions and facial expressions. `Amelie' is the first film where I adored the subtitles and in fact, had a nagging urge to go out and learn French that is still with me today. Much of this can be attributed to the delightful Audrey Tatou. Her expressive eyes and sweet caring nature provided the viewer with fond memories of Audrey Hepburn and prevented me from being distracted by the subtitles. Could a 23 year old actress with little experience be just as fantastic as Meryl Streep and Katharine Hepburn? I really wasn't expecting it but Audrey Tatou revitalized my interest in film and left me wondering why her name didn't appear on Academy ballots and what possessed the Academy to favor `No Man's Land.'

An already perfect film couldn't get much better but along with the lovingly created cinematography and delight of rising star Tatou came the wonderful story of a true do-gooder. `Amelie' is a film that begs you to get happy and should give some short-term contentment to even the most depressed of individuals. Little moments like the tragically funny early years of Amelie are very special and the best I've seen on the silver screen. The scene where Amelie is skipping stones in the canal should be studied for years to come as the greatest technical moment in cinema.

Movies like this one don't come around very often. Perhaps the creators of films that pander to dumbed-down audiences who apparently can't tell that their watching last year's film should take the hint. The movie-going public wants to be inspired and wants to be provided with the same imagination they have when reading a great novel. This is why `Amelie' remains #18 on the list of best films.

10/10

Hollywood was giddy with pride about `Bridget Jone's Diary' last year and the film which was adequate if fairly pedestrian, even garnered an Academy Award nomination for Renee Zellweger. Funny how you don't hear those same people in Hollywood cheering for `About A Boy' this year, though it finally proves that playboy Hugh Grant is a real star and not just a pretty face with a good agent. Sadly enough, `About A Boy' is a film that you tell your friend about and despite being a Hugh Grant fanatic, she's oblivious to it's existence. It can only mean that Hollywood would rather invest in toilet humor and sequels of now rotten films, than back originality thats fit for the entire family.

Possible Spoilers

Is it really possible that a few short years ago, the directors of this far superior film were destroying their reputations with the American Pie debacle? It goes to show you that even the most clueless directors can turn mediocrity into brilliance when the public whom they cater to, desires it. Who knew that they had this level of talent or that they'd be intelligent enough to adapt `About A Boy' from the author of the also fabulous `High Fidelity,' another sleeper hit from 2000.

`About A Boy' is actually about two boys who find that puberty is an unfortunate calamity. For Will (Grant) puberty presents the problem of coming to terms with the conclusion that `no man is an island.' There is a sort of brilliance in casting Grant in this role as one has to believe that he's basically playing himself.

Toni Collette continues to churn out great roles but she never receives the credit given to names like Julia Roberts and Nicole Kidman. Most people remember her from `The Sixth Sense' (if at all) but I'd say that it's highly unlikely that they'd recall her starring role in `Muriel's Wedding.' As vegetarian hippie mom Fiona, Collette does some of her best work.

Nicholas Hoult could be the next child star going the route of Anna Paquin, Tatum O'Neal, and Haley Joel Osment. I really enjoyed the KidzRock scenes with Grant and Hoult, who proves that he's not one of the movie/sitcom kids who goes upstairs never to be seen again while mom and dad engage in their usual banter. I think that if he continues to choose the right roles and finds an adequate hairstyle, he'll be the next superstar.

`About A Boy' really surprised me. I came in expecting another vehicle where Hugh Grant falls in love despite his caddish ways and was surprised that instead the chemistry was between Grant and a pubescent, needy child. Scenes with the KidzRock contest, the duck situation, and the mother who loved it when her son sang for her were brilliant and inspired. Much of the excellence of this film must be credited to Hedges who proves that `High Fidelity' wasn't the only story he wanted to tell.

9/10

I wanted to embrace `Igby Goes Down' along with the rest of the self-indulgent film critics who adore witty dialogue and foul-mouthed rich kids, but I just couldn't. I was completely thrilled to finally see that all three Culkin kids can undoubtedly act after years of criticizing them as some pretty faces with good agents, but alas I couldn't like Igby no matter how much Kieran Culkin wanted me to.

Possible Spoilers

The film has a terrific cast and it's quite refreshing to see Jeff Goldblum getting back to his `Big Chill' ways and making a performance-driven movie rather than the drivel that was `Jurassic Park' and `Independence Day.' It was also delightful to see that Ryan Phillippe has a professional life outside of his marriage to the terrific Reese Witherspoon. What a joy to see Claire Danes again although her current appearance leaves something to be desired. It was also nice to see Susan Sarandon in a role that she seemed to enjoy playing and even Amanda Peet is better than we all expected.

Kieran Culkin probably deserves an Academy Award nomination though it would be tough to win with heavyweights like Daniel Day-Lewis and Jack. However, it appears that the Academy rightly discovered that a rich brat like Igby was really not likeable enough no matter how hard Kieran tried, and he did try hard. Instead, I found myself enjoying D.H. (Jeff Goldblum) who hit all the right notes as adulterer and business tycoon. Especially enjoyable was his talk with Igby about how families need contracts, a business venture rather than a loving relationship.

Also impressive was the nature of the relationships in the film. There is no love between anyone, though you do feel some emotion when Igby visits his father towards the end. `Igby Goes Down' aims to be what `The Royal Tenenbaums' tried and failed at, a film that doesn't need red jogging suits and suicidal thoughts to show the delicate nature of how what our parents do affects us later on. Unfortunately, many of the scenes go down like some really nasty cough syrup and lack the biting wit that was so refreshing in `Ghost World.' I wanted to like the film but by the time it was over, I just felt relieved that I didn't have to continue watching such dysfunction.

7/10

`Adaptation' is a perfect film for everyone in Hollywood. It caters to self-indulgent film critics anxious for that all-important disappearing entity called witty dialogue, content need not apply. It's creators are the same self-indulgent individuals who brought us the much better and more original `Being John Malkovich.' They assume that they can beat up the average filmgoer with almost two hours of `character development' and then tack on an unbelievable ending that was clearly a case of major writer's block by Kaufman.

Possible Spoilers

`Adaptation' begins innocently enough going the route of a documentary by showing some footage from `Being John Malkovich.' This was an excellent way to begin as many adored that film and felt excited that Kaufman and Jonze would surpass it. Chris Cooper lights up the screen as the orchid thief and his speech to Susan Orlean (Meryl Streep) about how he now abhors fish is something of genius. There seems to be so much promise but this all ends as the film turns into a typical `thriller' if one can even call it that.

I had the pleasure of seeing `Catch Me If You Can' the same day as `Adaptation' and your time would be better served there watching one of Spielberg's most purely entertaining films in years. The problem with `Adaptation' and let me tell you there are many, is Nicholas Cage. You don't really like Charlie or Donald and when you finally have the feeling that Donald is a good guy, he dies even though you want it to be Charlie instead. Nicholas Cage's voice and mannerisms make you hate the personalities of Charlie and Donald and they would have been better served being played by dare I say it, Charlie Kaufman.

You also start out liking Susan Orlean but wind up wondering why Meryl Streep would sign up to play a complete bore with a life so dull that she falls for a loser with no teeth and becomes a drug addict dying to hear the sound of a dial tone.

Chris Cooper is the most fascinating one involved and is truly deserving of the Academy Award. I did enjoy the way that Orlean intently followed him around like a sponge hoping to absorb something from his peculiar mind. He provided what little comic relief there was.

Everyone in Hollywood surely adored Charlie and Donald and the pains of screenwriting, but I didn't. It was just more of the self-indulgence of Kaufman and everyone else involved. All that really happens is that Kaufman takes a story about an orchid thief which is actually pretty engaging and tacks on a pathetic ending in a vain attempt to prove that he's original and brilliant. If the film had been about the orchids it may have been more appealing because the best thing it had going was Chris Cooper. If you want to see the best film of the year make plans to see `Far From Heaven' instead.

6/10

Remind me again why America has such lofty expectations of Steven Spielberg but will gladly sit through any of the now rotten George Lucas films? Our expectations are so high that Spielberg goes out and makes his most purely entertaining film in a long time (`Catch Me If You Can') and one of his absolute best intellectual films ever (`Minority Report') in the same year but finds the Academy rooting for the sophomoric `Chicago.' Truly perplexing.

Possible Spoilers

That said, `Catch Me If You Can' is the most fun I've had at the cinema in years and like most Spielberg films appeals to everyone so as to maximize profit. `Everyone' refers to the dumbed-down American public who adore retread sequels, franchise films, and any film with the words Julia Roberts. And this is the brilliance of Spielberg who brings the masses of dumbed-down Americans together with the silent minority of intelligent film-goers who won't see a movie with less than 3 stars. `Catch Me If You Can' is a perfect film for everyone and so entertaining that I found myself more excited than I had been earlier that day at a screening of the self-indulgent `Adaptation.'

Who knew that Leonardo DiCaprio could act? I sure didn't after the snorefest that was `Titanic' but Spielberg has a way of urging even the most awful actor toward brilliance. As Frank Abagnale Jr. Dicaprio is very good at making us like this con-man and indeed, hoping that he will get away with all of his crimes. Tom Hanks is fairly pedestrian here, perhaps he's out of revelations, but Christopher Walken is pure magic as always. In one scene he and Frank Jr. make eye contact and there is a secretive smile that they share as he congratulates his son on getting away with impersonating a French teacher. Scenes with Frank's future wife, a nurse, where she is more upset that he's not a Lutheran than anything else are pure magic. A chance meeting in Frank's hotel room with Detective Hanratty (Hanks) is smart and fun.

Most intriguing is the fact that Spielberg spent very little time shooting `Catch Me If You Can' and in the course of one year managed to release two incredibly memorable films. Sure `Catch Me If You Can' doesn't add anything to the story of Frank Abagnale Jr. but a story as exciting as his doesn't need any additions, its a true story after all. Still, I can't imagine any other director bringing as much to the film as Spielberg does with his fun John Williams beginning to the scenes at Miami International Airport with the flight attendants and their cute powder blue uniforms. This is one of the few directors that you can currently look to for originality and excitement. `E.T.' was based on a dream after all and I can't forget those spiders crawling across the floor in `Minority Report'. Even his biggest failure `Artificial Intelligence' was unique and well-crafted. The other directors out there are on a course of making bad sequels for profit and making toilet humor some sort of revelation. You have to hand it to Spielberg for taking an extra step.

10/10

I rented "My Big Fat Greek Wedding" last night after finally succumbing to all the hype and all I got was a movie with ethnic "fun" and little content. I personally had my own big fat Turkish wedding and many of the characters reminded me of my family.

Possible Spoilers

Some of the parallels between my own life and the film were fun to watch, but I can't imagine any average American liking this movie. The movie basically says that Americans lead dull and boring lives devoid of parties and lamb roasting on a spit in the front yard. It's critical of Turkey which is typical and none of the characters with the exception of the father (Michael Constantine) have any depth. Sure there are some funny moments (Gus and his windex, the grandma getting hosed by the sprinklers) and one touching one (her parents wedding present), but the film plays more like a cross between stand-up comedy and an episode of "Everybody Loves Raymond" than a feature film.

Perhaps most perplexing is Nia Vardalos. I was thrilled to see a real-looking actress front and center rather than the fake Julia Roberts type. Unfortunately, Vardalos is not meant to be a lead. Perhaps its the script and Vardalos will be better in the sitcom. John Corbett phones it in as the man of her dreams. I didn't believe for a minute that Ian Miller (Corbett) would propose so quickly and be comfortable with her family and his Greek Orthodox baptism.

As one reviewer put it, "A bunch of junk wrapped up in pita bread."

5/10

"About Schmidt" could have been so much more but instead follows the course of "American Beauty" as one of the most overrated films in recent history. Alexander Payne created a masterpiece with "Election" in 1999, and so I had high hopes that his direction and Jack Nicholson's talent could propel this film to Oscar glory. Instead, the tone was too subtle and the Warren Schmidt character too unlikeable for me to care much at all.

Sure the sponsorship of little orphan Ndugu was touching along with the memorable ending that saved the film, but was it enough? Leaving the theater, I had the feeling that more could have been done with the waterbed salesman son-in-law and the short-lived scenes with Kathy Bates as the hippie-esque Roberta. The relationship with Schimdt's daughter could have been fleshed out a little. Mostly, I wanted to exit the theater feeling sad for this forgotten old man who you'd never miss if he vanished off the face of the Earth. Instead, I just left with thoughts of Ndugu, the orphan we never even see on-screen but whose missing presence presented the only emotion in the film.

Jack Nicholson did what he could but not even his miserable existence could make me like Warren Schmidt. I secretly wished that it had been Warren and not his wife that had passed on, perhaps she would have been a more exciting character. Watching paint dry or reading all 6,000 pages of War and Peace would be more entertaining then watching Warren make sense of his final years.

Also perplexing is the subtlety of the film which dragged everything out, such a departure from the all-out satire of "Election." Some critics denounced Payne's lack of subtlety with "Election" but too much subtlety is also a bad thing as is evidenced with "About Schimdt." There were some nice moments but this is by no means the best film of the year. Make plans to see "Far From Heaven" if your looking for that.

I have always adored Woody Allen's use of New York City in his films and it especially resonates with me today. One of the best of the currently working directors, his films represent an understanding of relationship conflicts that few have had the courage to explore. That being said "Hannah and her Sisters" is a mixed bag of the very best and worst of Woody.

Spoilers Possible.

The film starts out as his best ever and winds up with no conflict resolution and a most implausible conclusion between the Holly (Dianne West) and Mickey (Allen) characters. It stands to reason that for all of her insecurities and impulses, Holly would never wind up betraying Hannah and getting away with it. She would not feel comfortable to embark on a relationship with her sister's ex-husband, what self-respecting woman would? And yet in Woody's little world, this type of behavior is commonplace and almost normal (see tabloids on his real life for details.) Perhaps it's because his real life is eerily similar to this film that it's almost impossible to separate the turn-off they each represent.

That isn't to say that "Hannah and her Sister's" wasn't a success and truly one of Woody's most thought-out films. Every character is memorable and Woody himself does the best work as a neurotic television guy who comes this close to joining the Krishna's and thinks he's dying of a brain tumor. I loved the way that Woody's character Mickey was the odd-man out looking in on all of the action, despite the fact that he really didn't have the right to be a part of it anymore. Michael Caine is also very deserving of his Oscar as Elliot and his love for Lee is endearing. I also liked the way that the film ended without the typical conflict resolution, but this was also the film's downfall. Not only does Hannah (Mia Farrow) never discover her current husband's affair, but we're left to assume that she's fully accepting of the marriage of Mickey and Holly? Perhaps just one line of dialogue illustrating Hannah's feelings would have left me feeling less disappointed. Despite the fact that she is the main character and her name is part of the film's title, Woody seems to leave Hannah out of everything.

The film has good intentions but just can't seem to follow through with the ending. It's aged a bit (how 1980's can Michael Caine's glasses get?), but it's still a great achievement. An 'A' for effort and a 'B' for results.

9/10

The feeling of being in a long daze that is finally lifted by the ending of the film is the sense of sleepy melancholy that I found myself experiencing in the waning moments of The Virgin Suicides. The movie is one of the most quiet and subtle since the silent era and even a rocket scientist will find himself unsure of what it all really means. Sofia Coppola appears to want to explain that the restrictions of parents with high expectations can break your heart and also end your life. The movie is not bursting with the energy and feeling that you want to reach out and hug it as Ghost World proved but there is a sense of foretelling the fates of the four beautiful girls by allowing them to witness teenage rites of passage and experience excitement in the short moments before their untimely deaths.

The Virgin Suicides is restrictive in that the focus is always on what is revealed at the end with the demise of four siblings and not on the fundamental qualities of the lovely sister's lives. Certainly their lives are rooted in being cooped up in the home they share with Kathleen Turner and James Woods and they exist solely as empty creatures who are already dead in spirit but not yet in being. Lux Lisbon is the only sister who seems to believe that there is a way out of the misery and appears to have an outgoing personality that will prevent her from allowing her spirit to die. Inexplicably we find that she is little more than a facade who is not comfortable with the person she appears to be and her life ends tragically like all the rest. Kirsten Dunst is one of the best prospects of her generation aside from Natalie Portman and Thora Birch. Her determination to make Lux Lisbon human despite her inhumane treatment of herself is painful and yet enchanting to witness. Kathleen Turner and James Woods find themselves relegated to the back-burner but this makes perfect sense because the four girls would never have been able to commit suicide if their parents were very engaged in their lives.

What remains unclear in the closing moments of The Virgin Suicides is the true motivation for the mass termination of life. Lux Lisbon appears to have some reason for choosing this fate but the other girls are not well-defined in their own pursuit of the goal. There is never a clear plot that drives home this motivation but it somehow fits together in a rather compelling directorial debut for Sofia Coppola. Just be certain that you read the cliff notes first.

9/10

I was fairly offended as an American Muslim to endure the spectacle that was Black Hawk Down in theaters this winter. Certainly we all needed a movie that would restore our happiness and passion after the tragic events of September 11 but Amelie is the film that provides you with that on every level. Black Hawk Down was a vision with the lovely scenes of Black Hawk helicopters in the wrong place at the wrong time and the sound editing is some of the best I have witnessed in the war films genre but everything else about this film proved that Ridley Scott and his crew lacked the insight and research to embark on this venture.

Were all Somalians who felt angry at the American military presence in their country in 1993 one-dimensional lunatics with guns and desires to kill Americans? Absolutely not but once again in the tradition of the "Muslims are evil and that's just the breaks" film genre (True Lies, The Siege, Not Without My Daughter, Executive Decision) we are given another film that fails to portray the religion and it's followers positively and does not allow us even for a minute to understand their perspective. And why is that? Could it be because in many ways they are American themselves with a love for SUV's, cell phones, football, and spaghetti with meatballs? Ridley Scott could not possibly have the desire to show that side of the Somalians because America and certainly Black Hawk Down have to have enemies and not allied civilians whose lifestyles mirror our own. And yet you cannot ask for much from a film that also refused to give personalities and character development to it's own American heroes of war. I can accept the notion that Black Hawk Down is overly patriotic but for me it was not to honor these brave American soldiers who fought and died as most may assume Ridley Scott and his crew intended. Instead the film is merely an exercise in depicting American imperialism and world domination in which America is happy to stick it's nose where it doesn't belong no matter what the consequences are for American soldiers and foreign civilians. A tiring attempt to muddle an already estranged relationship between America and The Middle East hampers Black Hawk Down.

If you are interested in a more accurate and useful film on America's concerns in The Middle East pick up a copy of Three Kings at your local Blockbuster. The film has covered the most ground yet in it's efforts to portray Muslims accurately and intelligently. We are not there yet and Black Hawk Down is one step back when we desperately need to take two steps forward. I often weep for the future.

7/10 for sound editing and visual effects alone

As the minutes ticked by while I sat in the theaters watching the masterpiece that is Ghost World I continuously felt an incredible urge to hug this movie. When Thora Birch as Enid walks into her graduation party with much trepidation and coolly explains to a hated classmate that "We graduated. How shocking," I was moved beyond my wildest dreams after the years of agony and frustration that have come with enduring the multi-collection of Brat Pack trash and the newest nightmare of masturbation with pies. It was as if the clouds had suddenly lifted and I wanted to jump up in my seat and do a little dance to celebrate the end of shallow know-nothings who party and lose their virginity and the beginning of cynically delicious people-phobes who rejoice in intelligence and hatred for the unoriginal.

It was as though Thora Birch had transplanted her American Beauty character into this Ghost World in an attempt to prove once and for all that she was everything Mena Suvari's character was not-original and unique. Enid was such a testament to what I believe a lot of teenagers including myself endured. While the shallow high-school films have always appeared to know that losing your virginity and trying to fit in is part of the high school experience, they have always forgotten the minority of kids who hate 99% of people without ever meeting them and would love to be alone to contemplate life with their vintage records collections. And suddenly there is a film for these lost souls and Steve Buscemi is there to comfort you if the delightful cynicism is not enough. Where exactly is his Academy Award hiding? Perhaps a hard-target search of Jim Broadbent's 10 million dollar brownstone is in order?

Thora Birch has grown into depths I didn't realize she knew with Ghost World and the best must be yet to come. Her Enid is the embodiment of the hatred for the typical high school girl who flaunts her cleavage for the boys and is not clever enough to realize that there is more to life than worrying about nail polish colors and what Jim did with Jane and told Jake about on Friday. Her interactions with the art teacher who throws a baby in a toilet and considers it art are a delight as are her looks of contempt at a fellow summer school student who explains birth control with her unique contraption. Her relationship with Seymour brings out her inner child and a girl who like other normal teenagers wants to be loved and love back. Teri Garr is adorable in a tiny cameo and the man who always sits waiting for the bus is an interesting character. The ending of Ghost World is a delightful little way of summing up an adorable little film.

9/10

The most poignant scene in the film Drugstore Cowboy arrives in the opening moments when a drug-addicted foursome uses some skillful maneuvers to steal drugs from the local drugstore. The scenes that follow lack the quality of this interesting opening (rarely in film do addicts rob drug stores though it would seem to be a preferred method of acquiring their drugs) and we are left with a paint by numbers movie about addicts and the lengths that they will go to to protect their habits.

What did Roger Ebert see in this film that I couldn't? In every scene with Kelly Lynch as Dianne I had an incredible desire to watch paint dry. It was almost as though the casting directors were looking for Juliette Lewis or Winona Ryder but somehow ended up with Kelly Lynch. I never once believed that Dianne and Matt Dillon as Bob were married because Kelly Lynch looked older and more mature than him. It seemed that she was more of a bad mother than a wife to him. Matt Dillon did his best with a fairly one-dimensional character but once again it was almost as though the role was designed for someone else and the directors got stuck with Dillon. Heather Graham found herself in the position of being forced to play the role of a pathetic teenage drifter so that she could write it on her resume and go on to bigger and better things in Boogie Nights. I couldn't help but believe throughout the long two hours that the film would have packed a bigger punch if the casting directors had acquired Brad Pitt and Winona Ryder for the lead roles.

Drugstore Cowboy may have been somewhat thought-provoking in 1989 but it hardly deserves mention today when stacked up against Trainspotting and Requiem for a Dream. The film was set in 1971 and wouldn't it have been nice to find out why this foursome adored drugs so much? Was it the horrors of Vietnam that upset them? The high of being a product of the flower-child era? The movie refuses to delve into these issues and instead fixates itself solely on the premise that drugs cause damage but are the most important thing in the lives of the foursome. Perhaps the film would have been more entertaining and visionary if it had occurred to the writers and director to use the 1971 setting to explain the characters motivations. The so-called redemption of the Matt Dillon character is merely an attempt to end the movie at the 2 hour point rather than sooner and the scenes with the former drug addicted old man are trite and unnecessary. Drugstore Cowboy has aged badly and should only be viewed by those who use Roger Ebert's advice as their Bible for opinions on movies.

6/10

What begins as a fairly pedestrian paint by numbers British family drama becomes anything but by the time the credits for Secrets and Lies begin to roll. Superbly acted and helped along by the big reveal of all the secrets and lies at the end the film continues to resonate in my mind today.

Brenda Blethyn has never received much credit for her incredible portrayal of Cynthia Purley and most of that has to do with the highly over-rated performance of Francis McDormand as a fairly boring and typical North Dakotan police officer in Fargo. While Emily Watson and Breaking the Waves deserved Academy Awards in 1996, Brenda Blethyn and Secrets and Lies come in a close second. There was something very real about Cynthia Purley's working class status and desire to fulfill her obligations to her newfound daughter. Cynthia was by no means the sharpest tool in the shed and the screenplay does an excellent job of conveying the fact that she pretty much has no clue who Hortense's father is and frankly has little idea about responsibility in general. Her other daughter Roxanne is essentially Cynthia at 21 with more of an attitude and it is little wonder that the two are constantly at odds.

The most refreshing aspect of Secrets and Lies is the refreshing bond that is eventually shared between Cynthia (Brenda Blethyn) and Hortense (Marianne Jean-Baptiste). These are two women who have absolutely nothing in common save their blood-types. Hortense is a well-educated Black optometrist with a sense of duty and responsibility while Cynthia is an under-educated White factory worker with little idea about what correct behavior entails. What is wonderful is the little moments they share at an Italian restaurant where the dialogue is excellent. Remember when Cynthia ironically mentions that she wishes she could have been a mid-wife because she loves children to a rather bewildered Hortense? And how sweet and adorable did Brenda Blethyn play Cynthia with her cute little voice and her adorable way of being virtually idiotic but forgivable at the same time. The woman gave her daughter away but proves that she is a good mom in her own right despite her flaws.

I could have done without the side story with Timothy Spall and his infertile wife because this is a film that is perfectly capable of being carried on the shoulders of Blethyn and Jean-Baptiste. There are some powerful scenes with the often verbally and physically abusive Roxanne and most delightful are the times when Roxanne is stunned to see her mother leaving for her "dates" with Hortense.

An excellent rental that proves that American family drama doesn't hold a candle to the punch that the Brits pack.

A car plunges into the valley below and a group of witnesses come forward to hear the last words of the unfortunate victim behind the wheel. This sets the tone for the greatest slapstick epic ever invented and watching a new kind of role for the late-great Spencer Tracy is just one of the benefits you reap in renting this film. I was merely a 10 year old child at a slumber party when I first viewed this laugh-a-minute comedy and it remains a nice weekend rental today.

Who would have ever thought that a trip to Santa Rosita Park to retrieve some money hidden under a big W could cause so many problems and so many disputes among normally civilized people? The premise of taking a road trip is by the books fare but what sets the film apart is the whole idea of the Big W, very unique indeed.

Not enough words can be spoken about the Gene Hackman or Tom Hanks of his time Spencer Tracy. The role he undertakes here is actually quite unique. He is suddenly the bad guy who wants just as much as anybody to get over to Santa Rosita and get a shot at the money. The three-way phone conversation between he and his wife and daughter Billy Sue is ingenious. The role is just so different from the roles he typically played opposite real-life love Katharine Hepburn in Adam's Rib and Desk Set. The role of the ultimate bitch on wheels mother-in-law is portrayed effortlessly by the gifted Ethel Merman. And the way her mama's boy of a son Sylvester played by Dick Shawn cries because he's afraid of what's happening to his mama is the most hilarious thing you'll ever see.

Is the film too long? If it was up to me it would have gone on for at least a half-hour more. Just being given the chance to see so many great comedians on the screen at one time is enough to wish for a sequel for this one, something I normally despise. For those that truly hate the length and cannot appreciate the talent of the comedians in this film that is truly a shame. Imagine if we gathered Adam Sandler, Steve Martin, John Candy, Chevy Chase, Kevin Nealon and the list goes on for a comedy. Try to appreciate this movie as people who saw it back when it was released did.

Emily Watson smiles shyly at the camera like a little girl in a candy store getting the chance to buy all the lollipops and chocolates she could ever desire and thus sets the tone for the cinematic masterpiece Breaking The Waves. The wedding day of Bess McNeill (Emily Watson) and Jan Nyman (Stellan Skarsgard) has arrived and we are aware immediately that young Bess has never been in love and is an innocent virgin who is suddenly thrown in with the wolves and forced to grow up. Jan is an unattractive but gentle groom who knows this all too well but has an unrelenting desire for his new bride and they finally give in to passion when the wedding ceremony finishes up.

The most heartbreaking performance ever to grace cinema was that of Emily Watson as Bess McNeill. What a pity that Frances McDormand of Fargo was awarded the Academy Award in 1996 instead. Emily Watson is emotionally drained by the time her last scene airs and you get the sense that she played Bess as she went taking chances and relishing her material. Bess is gentle and kind and still young in spirit. She is not mentally ill but the survivor of a nervous breakdown following her brother's untimely death. She has been sheltered all of her life by the church in which she has no right to speak and there is a true sense that she follows this rule so strictly that she doesn't allow even herself to think or speak in her own mind. Jan Nyman cares for her deeply and is actually not at all attractive but the scenes that they share behind closed doors are the most passionate ever witnessed in cinema. They are not vile or disgusting but in truth quite lovely to behold. How Bess could give herself to a man when she refuses to even allow herself to have feelings is something I pondered for a long time. She has such a desire to please people however, likely something she learned from her church about loving others as you would yourself.

If ever the idea of praying the little children come unto me rings true it is in Breaking the Waves. Gentle Bess meets a most tragic fate and in the ending we can never forget something truly enchanting occurs. It may not seem plausible but it is a fitting finale for a saint of sorts.

Scenes strike me even now 6 years after my initial screening. Consider the elegance of the Scottish landscape and the tiny white church in all of it's glory as the backdrop in which young boys stone gentle Bess as a sort of adulterer. Or the powerful shots of Bess walking into the tiny church and speaking for the very first time after God finally gave her the words she had searched for for so long. Lars Von Trier captivates the eyes and mind from start to finish.

Much ink has been spilled regarding the request of Jan Nyman to his lovely and child-like new bride. His request did not disregard the feelings of Bess but was a heartbreaking way of letting her continue to live while he was confined to his bed and unable to satisfy her. He did not count on the fact that Bess had so much patience to please him that she did it not for enjoyment but out of pure and unadulterated love that lead her to believe it was what he truly desired. Never has a woman in film sacrificed so much of herself and looked so lovely and innocent in doing so.

10/10

A movie meant for all of the Americans who are tired of seeing a romantic comedy starring Julia Roberts or an action flick with Bruce Willis, Four Wedding's and a Funeral brings back my nostalgia for British comedy. Reminding me of those delightful BBC sitcoms Faulty Towers, Fine Romance, and As Time Goes By this film enchants on all levels and shows a British perspective on the oh so tired romantic comedy genre.

Hugh Grant is at his finest in the role as the romantic lead and Andie McDowell delights as his American love interest Carrie. Hugh Grant may have run into the problem of typecasting himself for an eternity as the romantic hero but who can fault him for that? His amazing eyes and playboy hair make him perfect for these roles and I'd rather fall in love anyday with Hugh Grant than that American romantic zero Tom Hanks in Sleepless in Seattle and You've Got Mail. Andie McDowell also has good chemistry with Grant and proves that Julia Roberts in My Best Friend's Wedding and Notting Hill is nothing more than a name that somehow merits big paychecks. Her Carrie is a fairly quiet but obviously intelligent and witty woman who knows what she wants and goes after it.

Four Weddings and a Funeral is truly the first romantic epic since the over-rated Doctor Zhivago and you get the feeling that the makers of the film could have stretched out the fun at least a half-hour more. There is never a dull moment and it remains a fun foreign flick without the sub-titles that typically annoy. And if you need ideas for your wedding day there are all of four weddings to help you choose a dress and food for the reception. Rent this with your husband!

9/10 (The Best Romantic Comedy Ever)

If your planning a vacation to the Lake Tahoe area anytime soon The Deep End is the movie for you. It starts off in The Talented Mr Ripley tradition incorporating lovely scenery with thriller elements. Tilda Swinton single-handedly carried the movie on her small shoulders as Margaret Hawl and ultimately they just weren't strong enough.

Consider for example how the film is willing to left unsaid the confrontation we all expect between mother and son. Certainly the makers of the film cannot be faulted for wanting to leave things subtle and not break down into the usual by the books rule of dumb thrillers that calls for a confrontation. And yet I never understood Margaret's motivation. Her and her son had all of three lines in the film and I was expected to believe that four people had to suffer sad fates for him, her loyalty to him was never challenged, and he got away with it in the end. If only he had apologized to his mother it could have been all worthwhile. The movie didn't need the big confrontation about the crime the son committed but couldn't he have said "Mom I'm sorry that I've been worrying you lately. I didn't mean to upset you by hanging out with a 30 year old when I'm only 17 and getting into that car accident." I'm not saying the son should apologize for being gay at all (that's okay) but if I hooked up with a 30 year old guy at 17 years old my mom would be a tad bit worried as well. Instead The Deep End gives us this contrived ending where we expect the son to start asking his mother what's been going on lately and he instead asks if he can call anybody for her. Huh?

I did not believe for a single minute that the Goran Visnjic character was anything more than a complete loser who loved casinos in the end although Tilda Swinton appears to think I'm wrong. The star from ER phoned in his part and when he did say his lines he looked as though he was dying to leave the set to get back to his 5 million dollar penthouse. Please.

The Deep End might be a nice rental when you and your friends want to see a thriller with a woman who is forced to become more than a housewife to protect her family. Don't be prepared for any answers though. I kept wondering what the point was of having the grandfather/father-in-law in the film. I thought that maybe we could have seen how he would respond to the son being gay but no he's just filler for an ill-fated lucky break for Margaret. Unless your planning a trip to Lake Tahoe you'll probably be snoring in your seat by the time you get to see the scenery.

When I go to the movies and see a film from the American family genre I expect that it's going to give me a slice of the current reality of family values. Nice try American Beauty but your shoes cannot fill the likes of Ordinary People. The fact is that Ordinary People existed long before Terms of Endearment, The Ice Storm, and American Beauty and it got everything right. It was real. I can see how some families play favorites and suffer the ramifications of a child's death so much that they forget that they still have a son who is alive and well and dying for attention. That said American Beauty exists as a trifle that achieves some level of greatness but is far too unrealistic to be considered 20 years from now.

Consider how Lester Burnham is a pediophile who loves to get naked in his garage while he lifts his weights. Consider how he gives a long and strange speech about oral sex to his boss to get severance pay and then winds up working at a fast food restaurant. Does this remind you of your father? Or for that matter how Annette Bening is a materialistic mother who would rather have her Italian sofa for all of her "future guests" to see than accept her husband's long awaited advances. Huh? Did I miss something? There is nothing American or human for that matter about these characters. They are lifeless and soulless and they exist only as cartoons. Their actions make no sense.

When you take the time to rent Ordinary People you see a slice of the reality of the American family. Donald Sutherland is a tax attorney who allows his son to make mistakes along the way but never ever gives up on him. Aren't the majority of baby-boomer fathers like that? Mary Tyler Moore plays Beth Jarrett as one of the coldest and meanest mothers ever to grace cinema. She plays favorites with her boys and leaves all of her love in the grave with her deceased son. Don't a lot of parents who have lost children behave as though a part of them died as well?

American Beauty achieves something unique but it's not something I'll be pondering 20 years down the road. Kevin Spacey is brilliant with his role but you can truly tell that he was trying to make human a man who simply wasn't written as anything more than a caricature. Annette Bening over-acts throughout the film and she simply doesn't know that we get it already, your a selfish and psychotic shrew! The cinematography is excellent though I often ask myself how many roses died before this film was considered a wrap. Thora Birch proves here and later in Ghost World that she can act with the best of them. American Beauty does entertain and there is never a dull moment. Does it matter and is it memorable though in the long term?

8/10

An ordinary mental illness genre film would have dissolved into the typical paint by numbers rule in which the lead actor adequately performs his role and his problems are understood only by the audience. A Beautiful Mind follows the rule that only the audience and his wife can sympathize with the mental patient but it develops into something more because of the difficulty and depth of Russell Crowe's performance. Do you remember the small but poignant scene where John Nash attempted to hold his newborn son in the rocking chair? It was a simple scene that wouldn't be difficult for an actor but the facial expressions and look of pain in Crowe's eyes elevated it to a new level. Say what you want about Crowe and his real-life shenanigans but be open to the idea that liking him as an actor should be more about how he performs in his roles and less about condemnation of his bad-boy persona.

It is a shame that Crowe performed better this year than the always dependable and Oscar-deserving Denzel Washington (He should have won for Malcolm X in 1992) and became virtually the only nominee from A Beautiful Mind who lost the chance to grace the podium. After all, Jennifer Connelly simply played the conventional role of the young wife who understands but has difficulty dealing with her husband's condition. Connelly fared better in the little-seen but unforgettable film Requiem for a Dream. Ron Howard's directorial award was somewhat overblown when you realize that Robert Altman had to skillfully handle 20+ speaking parts in Gosford Park and he did it wonderfully without breaking a sweat. And perhaps it's just me but can anyone else not forget that Ron Howard once direct Elijah Wood in that pathetic movie North?

A Beautiful Mind is the kind of film that you'll remember 20 years down the road but less for the conventional plot and more for what Russell Crowe brought to the role. The comparison to Rain Man is justified here because that was a movie where your likely to forget the road trip shared by Charlie Babbitt (Tom Cruise) and his brother Raymond (Dustin Hoffman) and more likely to remember how Dustin Hoffman had to have maple syrup with his pancakes and only wore K-Mart underwear. Rain Man also lacked a viable plot but movies within the mental patient genre are not meant to focus on plots but on patients. In that sense the so-called boring storyline of A Beautiful Mind is forgivable because much more beautiful than the Nash speech at the end is the way that Russell Crowe's eyes express the feelings that his mouth cannot speak.

9/10 (The best performance by an actor since Denzel Washington in Malcolm X)

Who would have thought that Ang Lee known most for the somewhat overrated but stellar film Crouching Tiger, Hidden Dragon would provide an engrossing new take on the American family genre? Though The Ice Storm was a bit too cold for my taste and some of the characters seemed as though their personalities were frozen on ice for 100 years, this piece was a moving look at the family genre that has yet to be fully explored.

Inevitably I think, The Ice Storm will be compared with American Beauty, Terms of Endearment, and Ordinary People and we will all ponder how it stacks up against the competition. I would put it somewhere in the middle. American Beauty revealed to the viewer characters that had a lot of fire and charisma and their personalities were often strange but engaging. The flip side of the coin remains that Annette Bening often over-acted the role and Kevin Spacey was at the top of his game, though his odd speeches and mannerisms didn't fit with the typical American father making American Beauty virtually impossible to fully appreciate.

There has never been another film quite like the family genre miracle Ordinary People. Though it was released in 1980 years before The Ice Storm, Terms of Endearment, and American Beauty it has not aged a bit. I was recently trying to remember an Oscar-worthy performance with a female that could put to shame Meryl Streep's Sophie's Choice and Vivien Leigh's Gone with the Wind and only Mary Tyler Moore as the coldest mother on Earth who plays favorites came to mind. The role was difficult because Moore's character had to be subtle but opinionated at the same time. She effortlessly conveyed with her eyes and heart what her mouth couldn't tell Timothy Hutton. And Donald Sutherland reminds me so much of my own father and the typical American father (a tax attorney who cares but knows when to let his child go his own way) it was uncanny. Ordinary People is a better film than American Beauty and The Ice Storm because the characters remind us of real mothers and fathers.

The Ice Storm was filled with characters that were a bit too subdued. Did Joan Allen take Prozac to prepare for the role? Christina Ricci got it right and appeared to be emulating Thora Birch in American Beauty but Tobey McGuire seemed to be in the wrong movie. Timothy Hutton was meant for his Ice Storm role. Kevin Kline was dependable, but the script refused to allow us to fully comprehend who the characters were. They seemed fairly disengaged from each other and most importantly from us.

That said, The Ice Storm is a memorable film that was unfortunately less seen and applauded than it's sub-par counterpart American Beauty. The ice storm was quite real, the thrill elements exciting, and most specifically the feeling that it was all leading up to something big engaging. If there was no Ordinary People to compare it to, The Ice Storm would remain the best in the family genre and a 10/10. Oh well.

9/10

The first time I saw Fargo in 1996 I enjoyed it mainly because I was hoping that it would edge out the highly over-rated snorefest The English Patient at the Academy Awards. Now I'm aware of the fact that Fargo is also highly over-rated. Three generations of my family grew up in Minneapolis, Minnesota and Fargo, North Dakota. The mannerisms and speech used by William H Macy and Frances McDormand is realistic but why should I remember this screenplay twenty years from now? Apparently it is a true story which must have all the fans of Survivor running for their local Blockbuster stores along with the fans of America's Most Wanted and Cops. When I want to see reality that will impact me for years to come I'll rent something historically significant like Malcolm X or a documentary film like No Man's Land or One Day in September. These movies are by the books as reality movies should be and don't look for black comedy that offends the memories of the people who were most closely affected by the tragedy.

I did appreciate the effort on the part of the Coen brothers to add their usual wit to the mix. William H Macy was hilarious as the father and husband who was more worried about money than about the lives of his family. It was a somewhat enchanting experience to watch him try to keep everything under control while slightly breaking down with every passing moment. Frances McDormand has proven herself to be talented in Almost Famous and The Man who Wasn't There but she is highly over-rated here. Perhaps it's my bias that was putting all bets on Emily Watson's extraordinary performance in Breaking the Waves for the Academy Award. For me McDormand was adequate and appeared to be having fun but not memorable 20 years down the road. The always reliable Steve Buscemi (he should have won for Ghost World) stole the show here.

Fargo is a film that I'd recommend to the reality-television audience and to serious fans of the Coen brothers films. It enchants on some level but may disgust some viewers who will be perplexed that this really did happen. It suffices as a rental on a Saturday night when you want to see what all the fuss is about. Be prepared however, if your from Fargo or Minnesota to be somewhat offended. After all, when you see Frances McDormand, you'll be looking in the mirror.

6/10