Based on the award-winning book by Bernhard Schlink The Reader is an extraordinary provocative and controversial story set in post-World War II Germany. It starts when 15-year-old Michael (David Kross) becomes ill with scarlet fever and is helped home by sympathetic woman named Hanna (Kate Winslet). After his recovery he returns to thank her and is drawn into a clandestine affair with this intriguing woman more than twice his age. Their relationship grows stronger especially when he starts reading to her. But then she suddenly disappears leaving a devastated Michael who now must move on with his life. Little does he know that eight years later while he is in law school he would see Hanna again -- as one of the defendants in a court case against Nazi war criminals. Shocked at revelations about her secret past he also discovers something that will change both their lives forever. Granted Kate Winslet is one of the finest young screen actresses but her range in The Reader will astonish you. It’s an extremely tricky part that could easily lose the audience’s sympathy if done incorrectly but Winslet handles it with aplomb. She runs through the whole gamut of emotions -- aging from her 30s to 60s -- all at once sexy mysterious conflicted contrite as well as many other colors. As Michael newcomer Kross is devastatingly good the most impressive acting discovery in a long time. Although he plays 15 he was 17 at the start of filming and production had to shut down until he turned 18 for the graphic sex scenes. As the story flashes forward Ralph Fiennes takes over the role as the older Michael and does so with a touching sincerity. Lena Olin also has a strong cameo as a Holocaust survivor with definite opinions of Hanna. Although this is only acclaimed stage director Stephen Daldry’s third film he once again shows a mastery of the medium far beyond his limited cinematic resume. Like The Hours and his debut film Billy Elliot he has crafted another film to savor. The Reader isn’t necessarily the most comfortable film to watch but Daldry guides the subject matter with a delicate and steady hand giving us a complex and touching love story between the most unlikely couple. It also delves into how one generation of Germans can come to terms with the horrors of another. Daldry’s directorial restraint and power perfectly serves David Hare’s impressive screenplay and delivers a memorable movie-going experience.
October 16, 2003 4:39pm EST
No pun intended but this remake of Tobe Hooper's low-budget 1974 cult horror film The Texas Chainsaw Massacre cuts straight to the chase and goes right for the jugular. The result is a horror movie bloodbath with jolting scares guaranteed to shock moviegoers out of their seats and onto sticky theater floors. Like the first the remake is set in the early 1970s and follows five friends on their way to a Lynyrd Skynyrd concert in Dallas after making a drug buy in Mexico. Their fates are forever changed when they pick up a hitchhiker who commits suicide in the back of the van. In desperate need of a solution to the dead girl in the car the quintet stumbles upon a dilapidated house in a rural Texas community inhabited by Thomas Hewitt (Andrew Bryniarski) and his strange extended family. Hewitt receives the group led by Erin (Jessica Biel) revving a chainsaw--and suddenly their aspirations go from catching a performance of "Free Bird" to leaving the house with their limbs intact. This is supposedly based on the true story of Plainfield Wisconsin's cannibalistic grave robber Ed Gein which is precisely what makes this film so entrancing. If horror movies are designed to brutally assault not only the victims on-screen but also its viewers then TCM succeeds.
Biel 21 first impressed viewers on the WB series 7th Heaven with her portrayal of Mary Camden the eldest daughter of a progressive minister. As Erin in TCM Biel emerges as a strong lead and it's refreshing to see a horror movie heroine who never twists her ankle in a pivotal chase scene doesn't scream unnecessarily and knows how to hotwire anything on wheels. This role should definitely prepare Biel for her next project playing vampire hunter Abigail Whistler alongside Wesley Snipes in the upcoming Blade 3. While Biel carries the film there are also some decent performances from Eric Balfour (levelheaded Kemper) Mike Vogel (Andy the drunk) Erica Leerhsen (slutty Pepper) and Jonathan Tucker (STD statistic-spouting nerd Morgan). They all have clichéd characteristics that serve to create tension and each rises to the occasion in their limited screen time. At 6'5" Bryniarski (Scooby-Doo) is tailor-made for the role of the enduring yet no less frightening Leatherface. There are also some smaller performances worth noting from R. Lee Ermey (Willard) as the demented Sheriff Hoyt and Heather Kafka as the trailer park baby-thief Henrietta.
Music video helmer Marcus Nispel chose a doozy of a film for his directorial debut. Director Hooper's '74 slasher pic influenced a slew of contemporary horrors including House of 1 000 Corpses Jeepers Creepers and Wrong Turn and it remains to this day a highly romanticized and over-analyzed film. Some for example maintain that Hooper's TCM was a sociopolitical allegory of post-Vietnam America. But although Nispel's setup is practically identical to Hooper's there is no profound message here. Scribes Scott Kosar and Eric Berny do slip in a psychological explanation for Hewitt's wrath by giving him a skin condition that left him without a nose and ostracized as a child which is why he collects body parts and makes masks out of his victims' faces--hence the nickname "Leatherface"--but in the end it's just an entertaining slasher pic. Half storytelling half mood music intensive and richly atmospheric TCM has great visual appeal although some of it is undercut by some of producer Michael Bay's trademark bullet path shots. Nispel's music video background is pervasive in the film's visual MTV-style narration which is fitting for a film aimed at the 15- to 25-year-old TV watching audience.