As Phone Booth not-so-subtly points out most folks these days spend a great deal of time on the phone--so much so that the compulsion to answer even a random ringing phone is sometimes just too hard to pass up. Such is the fate of one Stu Shepard (Colin Farrell) a smooth-talking PR rep who revels in his self-serving unethical existence. He prefers to wheel and deal on his cell phone while pacing the streets of New York but uses a public phone booth for the calls he doesn't want wife Kelly (Radha Mitchell) to find out about like the special one he wants to make to Pam (Katie Holmes) a wannabe actress he's trying to get in the sack. Yet on this particular afternoon the pay phone rings--and being the phone junkie he is Stu answers it. Biiiig mistake. The caller turns out to be a serial killer with a sniper rifle who tells Stu he'll be shot dead if he hangs up the phone. Of course Stu thinks it's a sick joke at first but after the sniper kills someone near the booth Stu is suddenly thrust into a hellish game of cat and mouse with the unseen gunman. Eventually the police arrive led by senior officer Captain Ramey (Forest Whitaker) who first mistake Stu for the crazy shooter. Soon however Ramey his team Kelly and even Pam become ensnared in the sniper's web--and only Stu can save them by digging deep into his soul and coming clean ultimately outwitting the killer at his own game.
That this is pretty much a one-man show is a given--and Farrell bears the weight of it on his shoulders quite well. The Irish actor has a certain reckless-yet-oh-so-vulnerable approach towards his craft which he uses to full benefit in Phone Booth. Stu goes from cocky bravado to gut-wrenching defenselessness in one fell swoop and even though his character's dialogue gets heavy-handed about what a schmuck he has been Farrell manages to make it all believable. As the sniper Kiefer Sutherland is menacing and sardonic as he goads Stu into his confessions but the baddie never comes off as evil as you would like him to be. Of the supporting players only Whitaker stands out as the police captain who is thankfully a lot smarter than he first appears to be. Holmes and Mitchell on the other hand have the tedious tasks of playing "the women" and neither are able to rise above their thankless parts.
Phone Booth had some difficulties making it to the big screen. Originally From Hell's Allan and Albert Hughes were attached to direct with a varying list of A-list actors attached to star at different times including Will Smith and Jim Carrey. Eventually the film fell into director Joel Schumacher's lap in 2000 and (after Carrey dropped out) he cast newcomer Farrell with whom the director had just worked in Tigerland. Twentieth Century Fox at last was able to set a November 2002 release date--but then came the horrifying real-life events last October where two snipers in the Washington D.C. area randomly killed several people and the studio decided to postpone the release due to those sensitive circumstances. Now that the film is finally coming out the wait seems to have paid off since a) Farrell has become a bona-fide star in the meantime with The Recruit and Daredevil under his belt and b) Phone Booth is just as fresh and visually stimulating as if it was made yesterday. Schumacher shot the film in 10 days because he knew he had to pull out all the stops to sell the concept of having the action revolve around one guy standing in a phone booth. The result is an excellent fast-paced film which uses a split-screen style to tell the story--and keep the movie's--and the audience's--adrenaline pumping throughout.
Packed with too much goodness and determined to push its platform of paranormal events A Rumor of Angels is an overwrought drama about friendship grief and the spiritual rebirth of a boy and his eccentric recluse neighbor. Twelve-year-old James Neubauer his father Nathan and his stepmother Mary are spending their summer vacation in the small seaside town where the boy's mother died years earlier in a car accident near a local bridge. Because James has been traumatized by her death he has problems connecting with his often absent father and new mother. When James wanders onto the property of eccentric elderly neighbor Maddy Bennett who lives in a decrepit shingled house overlooking the ocean she scares the boy by firing a rifle in his direction. After a showdown with the Neubauers Maddy succeeds in hiring James to rebuild and paint her fence. An unlikely friendship ensues when James becomes a kind of surrogate son to Maddy who lost her own son in the Vietnam War and the stern but caring Maddy becomes mother surrogate the boy so desperately needs. Maddy also beset by grief teaches James about the power of remembrance and imagination and the possibility of angels and communicating with those long gone. James also learns about the importance of family love friendship and spiritual awakening.
Vanessa Redgrave is terrific as usual as the eccentric recluse Maddy giving yet another powerful performance that dazzles delights and soars beyond the limitations of the character as written. Trevor Morgan is fine if not memorable as James. Catherine McCormack as the stepmother Ron Livingston as a slacker uncle and veteran actor George Coe as Maddy's oldest friend also turn in serviceable performances. Only Ray Liotta so memorable in edgier meatier roles like those in Something Wild and Goodfellas or the more recent Hannibal and Blow is out of his element as a frustrated often absent dad. In fact most of the actors are chewed up by the gorgeous evocative Nova Scotia locales that brilliantly stand in for the Maine village.
Director Peter O'Fallon's biggest obstacle in A Rumor of Angels appears to be his own screenplay which he co-wrote and adapted from the very old inspirational novel Thy Son Liveth. Most filmgoers won't get beyond the film's pile-up of hokum about communication with the dead. Also the horror and mystery elements that A Rumor of Angels plants early on dissipate into a cinematic sermon about familiar family values and faith. The messages may be poignant but the drama sending them isn't. O'Fallon relies instead on lovely cinematography scenes suggestive of paranormal reality (those lights those angels) and a soundtrack rich in classical music--all at the expense of delivering a credible story with flesh and blood characters who actually sound like they just might be real New Englanders. His direction is style over substance scenery over psychological truths.
Peter Appleton (Jim Carrey) has it made. His screenwriting career is on the rise his first movie's just been made and he's got a cute girl. Life is good--until the House Un-American Activities Committee mistakenly fingers him as a Communist and he quickly falls from the A-list to the blacklist. Getting dumped by both his studio and his girl is nothing a little drinking can't remedy but after drowning his sorrows he nearly drowns himself when he decides to drive drunk and his car veers into the river knocking him unconscious. When Peter comes to he can't remember who he is or where he came from so he's taken in by the kindly people of Lawson a burg stuck in time and still mourning the loss of many of its sons in World War II. They mistake him for Luke Trimble one of their long-lost boys who went MIA in World War II and are overjoyed at his return. Luke's father Harry (Martin Landau) whose zest for life had dwindled so much that he let his beloved movie house The Majestic fall to ruin but with "Luke's" return he plans to reopen it. Celebrations abound. Peter-as-Luke even returns to his relationship with fiancée Adele (Laurie Holden). Meanwhile Peter may have forgotten who he was but the Feds haven't and they're on his tail.
When Carrey's given the right material like he was with The Truman Show he can exhibit moments of greatness. The Majestic doesn't give Carrey the leeway to show his quirky sensibilities demanding that he play it straight throughout the movie (there are a few--too few--glances at humor that Carrey doesn't play up). To bring off the kind of schmaltz this movie oozes Carrey had to bring something of an edge to his character. Instead Peter is neither likable nor unlikable coming off as a bland confused schmo until the climactic end which after two hours of his weak personality is wholly unbelievable. Landau is unexciting as a caricature of the sad sentimental old man without hope--you want to sympathize but there's something faintly chilly about him. Holden's liberated-woman lawyer might have played better in a contemporary movie; she looks and acts too much like a modern-day actress trying to portray a woman of the '50s.
Was this some kind of vanity project dreamed up by a director too taken with his own greatness and past success? Was Frank Darabont envisioning an It's a Wonderful Life for the next generation? (Psst…it's likely the majority of the modern moviegoing public doesn't know who Frank Capra is and could care less especially when the movie is as slow and as completely unbelievable as this one.) Apparently Darabont's in love with his own direction because hardly a moment goes by without some lingering reaction shot. Darabont took an intriguing story about amnesia and mistaken identity and slathered it with sap. Old-fashioned period stories can be lots of fun but it's imperative they be able to keep a present-day audience's interest by including a bit of modern wit and pace. Unfortunately this sticks to the straight-and-narrow. Nobody's going to buy the two-dimensional main characters the shiny happy townspeople or especially the schlocky my-country-'tis-of-thee finale. In its favor The Majestic's ultimate message is a nice one. The movie does have its heartfelt moments and its '50s feel is authentic if a little polished.
At last year's Sundance Film Festival, 26-year-old director Tony Bui scored a monster victory when his debut offering "Three Seasons," took three awards, including both the Grand Jury and Audience prizes for best picture. But despite being the toast of Park City, Utah, the film about post-war Vietnam opened quietly in May with a $47,000 debut weekend at the box office. It topped off its theatrical run in August with little more than $2 million in ticket sales.
Despite the assumption that Sundance success equals box-office success, the reality shows that more often than not, the films that win the festival's top awards have a tough time finding audiences in the real world. "I think it's just the nature of the types of films shown at Sundance," says Paul Dergarabedian of box-office tracking firm Exhibitor Relations. "Generally, these films are not intended to be blockbusters and are more artistic in nature. The whole notion of the festival is quality of the work."
The Cinderella story of "The Blair Witch Project" filmmakers Daniel Myrick and Eduardo Sanchez is often cited as the ultimate Sundance success. They were the guys with the $40,000 film that went on to gross more than $140 million. But what many fail to realize is that despite debuting at Sundance in 1999, "Blair Witch" didn't win a single prize there. It wasn't even a film in competition.
"'Blair Witch Project"'s are the Halley's comets of films," says Hollywood Reporter film writer Dana Harris. "They come every few years, and people don't realize how many indie films that do nothing come and go in between."
One of the films that fell through the commercial cracks was "Judy Berlin." The film won Eric Mendelsohn a directing award at the 1999 event. But while the film went on to work the festival scene, it never had a theatrical run in the United States.
"A lot of these films [that debut at Sundance] don't have distribution," Dergarabedian says. "And the reward of Sundance is that you might get a distribution deal, and your film gets seen. [But] a lot of movies go in and will not get distributed."
The argument that award winners at Sundance might not be representative of the general moviegoing community is a powerful one. Unfortunately, it fails to explain one of the strangest epilogues to the 1999 festival.
First-time filmmaker Gough Lewis made headlines last January with his documentary about a 22-year-old Singaporean honors-student-by-day/hard-core porn actress by night. To some, "Sex: The Annabel Chong Story," even more than "Blair Witch," was the talk of the festival. Its reach was strong and immediate: People were enthralled, outraged, disturbed and/or disgusted. But despite all the attention (and it received far, far more than either "Three Seasons" or "Judy Berlin"), the film has yet to see a domestic theatrical run. (It is finally slated to open in a limited release early next month).
In the case of "Sex," all the buzz may have actually hurt the film's chances -- as word eventually leaked that director Lewis had at one time been romantically linked to his subject. With his objectivity called into question, some believe Lewis destroyed any chance he had at making a legitimate, compelling feature.
"It didn't surprise me that ["Sex"] didn't get distribution," says Harris. "The film was a bit of a disappointment in that it was intellectually bankrupt and kind of broke the code of documentary filmmaking."
In the end, it really is the luck of the draw. Audiences are fickle, the fates are tricky, Hollywood's tough. Even some of Sundance's most-well-known alumni ("Clerks," "The Brothers McMullen" and "El Mariachi") couldn't summon the broad appeal to top $10 million at the domestic box office.
"At Sundance, you're lucky to get in at all," Dergarabedian says. "You're even luckier if you win and get a distribution deal. The formula you need at Sundance is not the same for a box-office hit.
"I don't think that's really the emphasis. The emphasis is on the quality and artistry of the work."
Looks like Dylan McDermott has had enough of playing good guys.
"The Practice" star is in talks to star opposite Jennifer Lopez in the thriller "Enough," Daily Variety says.
In the film, McDermott would play an abusive husband who pursues Lopez to the bitter end.
PILLOW TALK: Emmy winner Allison Janney will join Meryl Streep, Nicole Kidman and Julianne Moore in the drama "The Hour," Variety columnist Michael Fleming says. The film is based on Michael Cunningham's Pulitzer Prize-winning novel, which is an homage to writer Virginia Woolf.
Janney will play Streep character's lesbian lover. Also joining the cast are Claire Danes and Ed Harris.
A 'ONE' AND A TWO: Jet Li's going to have company for his next project. Variety reports that Delroy Lindo ("Gone in 60 Seconds") and Jason Statham ("Snatch") will join the martial arts guru in the sci-fi actioner "The One."
Statham and Lindo will play cops who patrols the border between different universes. Li will play a space renegade bent on crashing their planet.
LOOKING FOR 'GOD': Funnyman Billy Connolly will join Judy Davis in the flick "The Man Who Sued God," Variety says. Connolly will play a fisherman who tries to sue God when his boat is struck by lightning.
THE OTHER SEX: Last but not least, "Murphy Brown" creator Diane English will direct "The Women" -- a remake of the 1939 George Cukor flick about the relationships among a coterie of high-society women, Variety reports.