Elderly Ptolemy (Anthony Hopkins) who once served under the great Alexander (Colin Farrell) narrates the life story of the man the myth the legend--the son of the ambitious King Philip (Val Kilmer) who surpassed his father at every level and charged into the farthest reaches of the world. From early childhood in Macedonia we see where Alexander gets his drive--mostly from his vengeful snake-lovin' mother Olympias (Angelina Jolie) who urges her son to take charge as well from his tutor Aristotle (Christopher Plummer). Even in the taming of his unbreakable horse Bucephalas at 10 years old Alexander's destiny is evident. The heart of the film lies in Persia which Alexander conquers in one of the most studied military battles of all time. Alexander spends a great deal of time there--taking in the culture claiming its riches and marrying a Bactrian princess Roxane (Rosario Dawson)--much to the chagrin of his Macedonian generals who are stuck in this foreign land with their king. Despite this success Alexander grows restless and turns his attention to the rest of the world including the unexplored regions of India. With his army stretched thin and his Macedonian troops longing for home Alexander presses them one campaign too far. Succumbing to a mysterious illness at age 33 Alexander dies never quite finding what he so desperately searched for.
Although some may scoff at casting the Irish actor in the lead Farrell does an admirable job playing the tortured hero blond wig and all. He exudes plenty of wide-eyed fury and intensity as Alexander the warrior balanced by the controlled calculation of a hyper-effective military commander although he isn't nearly as effective as the idealistic pre-world-conqueror Alexander as he is spiraling down into the haunted angst-ridden Alexander at the end of his obsessive crusade. Casting Jolie as Olympias is a stroke of genius. Sure Jolie can play a smart and beautiful woman in her sleep but her beauty is surpassed only by the power she imbues as Alexander's bitter yet loving mother; she's as hypnotic as the snakes she carries around. Kilmer relishes his role as Alexander's father Philip in all of his grotesque wine-soaked glory. Powerful driven and battle-scarred Kilmer's Philip knows precisely what he wants and matches Jolie's quiet intensity with the raw aggressive masculinity of a warrior king who is far more comfortable in his armor than a toga. In the supporting roles Hopkins is great as always this time in the thankless role of the narrator while Dawson plays Roxane with a ferocity that is as mesmerizing as it is terrifying. Standout Jared Leto also turns in a concentrated performance as Hephaestion Alexander's long-time companion boyhood friend and the person who loves Alexander the best. (And we do mean love.)
Alexander is Oliver Stone at his best. An Alexander nut for most of his life the director gives us a film that--even in its loooong three-hour form--continuously holds your attention especially its intense and bloody battle scenes. I mean honestly once you've fought against an elephant in armor the plain old sword-and-shield skirmishes pale in comparison. Alexander also possesses a great breadth of visuals: Alexandria's peace Pella's tension Babylon's opulence and India's richness. Yet as wonderful as the landscapes are it's personal interactions and internal politics that drive the story--and of course Stone's penchant for conspiracy theories as he more than insinuates Alexander was poisoned by his enemies rather than dying of an "unknown" illness. But a problem still remains: Alexander's life was so huge and he did so much that it's almost impossible to encapsulate it effectively into one film. Stone instead has to focus on what he thinks is the most important namely Alexander's renowned conquests while allowing the pressure cooker in which the young conqueror grew up--the triangle of mother father and son--come through in the decisions he makes later in life. For those few of us who have studied Alexander Stone has made this film especially for us. If you haven't spent any time reading Arrian and the other histories this excellent film might just inspire you to do so.
Halle Berry stars as Dr. Miranda Grey a well liked and respected psychotherapist happily married to the beloved head of the psychiatric ward at an old damp women's penitentiary (Charles S. Dutton). One stormy night taking a detour on her drive home she's involved in a terrifying encounter with a young girl that causes her car to go off the road and the impact of the crash knocks Miranda out cold. She wakes up on the wrong side of a Plexiglas cell door in the very prison where she and her husband work (apparently this the only prison in the state) to find her husband's been killed and she is the prime suspect in his gruesome murder. With no memory of the past few days she is confined alongside her former patients like the Satan-paranoid Chloe (Penelope Cruz) and scrutinized by her once-flirtatious coworker Dr. Graham (Robert Downey Jr.). Miranda insists she didn't kill her husband but quickly starts to doubt her own sanity when a violent force from the not-so-sweet hereafter turns her into a Spirit World conduit. Meanwhile the good doctor wants desperately to prove her sane and innocent even as unseen forces bizarre sightings and bad lines get in the way.
You can practically see Berry's slight shoulders hunching under the weight of this oppressive wet flapdoodle of a psycho-mystic mystery that has The Ring written all over it. Berry gets the baffled/terrified/uncontrollable prisoner thing right says "Shit!" a lot and gets plenty of screen time to flesh out her character (no not THAT kind of flesh; she's drenched in the shower and submerged in the swimming pool but Berry never once pulls a Swordfish). Still cute after years of hard living Downey Jr. as Miranda's skeptical doctor ably smarms his way in and out of scenes in which he says little but raises much doubt about his true motivations--just one of several intriguing concepts abandoned in the face of a progressively trite storyline and escalating hoo-haw. Where it all just goes wrong--so so wrong--is in Cruz's greasy raving crackbird who shrieks lines like "He opened me like a flower of paaaain!" while trying to convince Miranda the Devil rapes her nightly in her cell.
Auteur Mathieu Kassovitz admirably sets the stage for a spooky thriller in the massive turn-of-the-century St. Vincent-de-Paul Prison an abandoned maximum-security facility near Montreal that serves as his women's prison. The setting is the only part of the film that holds any interest--it almost develops a life of its own which is more than can be said of the characters. Though Kassovitz resorts to Horror 101 (flickering lights suddenly appearing figures things that go bump in the night) these elements inspire dread and trigger a jolt regardless. So if the setting is suitably hair-raising the first few scenes effectively suck you in and the acting is passable what's the problem? Screenwriter Sebastian Gutierrez's script that's what. After an auspicious start the film drowns in nonsense and plot holes the size of which rival Michael Jackson's legal troubles until finally sinking like a stone with a truly pedestrian and ridiculous finale that unravels any interesting question raised in the two hours prior followed by a real howler of a denouement. "I don't believe in ghosts but they believe in me " says Miranda. Sorry we don't believe a bit of Gothika.
The tragedy of Sept. 11 was clearly remembered Saturday as the Sundance Film Festival showcased five documentaries revolving around the terrorist attacks on New York's World Trade Center. The shorts dealt with a wide range of topics, from death to survival to dealing with hate crimes against Muslims to protests against the U.S. war effort.
Made by New Yorkers in the days following the collapse of the Twin Towers, the films left audiences gasping, weeping and even singing at the end of one film, We Are Family, about how celebrities raised money for victims' families.
"It's not a program about what happened that day," Geoffrey Gilmore, artistic director of the famed independent film festival, told Reuters. "That's something that's going to happen over the next couple of years."
Even though Survivor winner Ethan Zohn was pretty excited about winning a million dollars, fewer viewers seemed to be. The ratings for CBS' Survivor: Africa finale were far below the previous two installments, only taking in 27.3 million viewers compared to 51.7 million and 36.4 million, for the first and second Survivor shows, respectively.
Adoring couple Brad Pitt and Jennifer Aniston settled their $50 million federal lawsuit against Italian jewelry designer Silvia Damiani, after accusing the jeweler of marketing copies of the wedding ring Pitt designed for his lady love on the Internet and using the stars' names and faces for publicity. Apparently, it was all just a big misunderstanding and now Pitt has agreed to design an exclusive line of jewelry for Damiani while Aniston will peddle it in advertisements. Well, glad that was cleared up.
Yet another twist in the Oscar race...A Beautiful Mind was picked as the year's top movie by the Broadcast Film Critics Association. Other accolades for the film went to Russell Crowe for best actor, Jennifer Connelly as best supporting actress and Mind director Ron Howard, who tied with Baz Luhrmann (Moulin Rouge) for best director. Sissy Spacek took another nod for best actress for her turn in In the Bedroom and Ben Kingsley won best supporting actor for Sexy Beast.
The late R&B singer Aaliyah, who died tragically in plane crash in August, topped the British singles charts with her song "More Than A Woman." It was the first British No. 1 for the American singer/actress, as she ousted UK newcomer Daniel Bedingfield's debut "Gotta Get Thru This."
Jurassic Park and ER creator/writer Michael Crichton has filed for divorce from his fourth wife, Anne-Marie Martin, after 14 years of marriage. Crichton moved out of the couple's Bedford, N.Y. home and now lives in California with their 12-year-old daughter, Taylor.
NBC late-night talk show host and funny guy Conan O'Brien said "I do" Saturday at the St. James Cathedral in Seattle, Wash. to Liza Powel, a Seattle ad executive. He met her when she appeared on his show in a skit about advertising.
Muhammad Ali got the greatest star of all on the Hollywood Walk of Fame in Los Angeles on Friday--but not where people could walk all over him. He insisted his star be installed on the wall of the new Kodak Theater complex instead of joining the other 2,188 famous people on the famed Hollywood Boulevard.
Following a trail of bodies FBI agent Peter Novak (Vince Vaughn) tracks down and captures disturbed serial killer Carl Stargher (Vincent D'Onofrio) in The Cell. Before Carl can reveal the whereabouts of his final victim (a woman trapped in a cell on the verge of drowning) he has a seizure and falls into a coma. Enter psychologist Catherine Deane (Lopez) who tries a radical new therapy. Using a chemical link to Carl's brain that could destroy her own sanity Catherine agrees to enter the labyrinthine kingdom that is the mind of this madman. Her mission: Find the cell's location before time runs out and avoid getting trapped inside the killer's head.
Jennifer Lopez looks a bit dazed and confused as she reacts to the wild and weird visuals but manages to keep a straight face with a wardrobe from Mars. Vaughn squeezes as much quirk as possible from his flatly written character and graduates to believable hero status. As the killer D'Onofrio has little to do but shoulder the weight of lavish costumes and numerous prosthetic piercings. Still his oft-altered voice and unpredictable nature make him a quite menacing villain.
The true star of the film commercial and music-video director Tarsem ("Losing My Religion") makes his feature-film debut here. His origins are abundantly clear in the fantastic mind-bending imagery mixed with static acting and minimal dialogue. Inspired by non sequitur dream imagery and artwork from the likes of Hieronymous Bosch and M.C. Escher Tarsem has created some of the most exquisite and phantasmic visuals put on celluloid yet. Come Oscar time keep an eye out for costume and art direction nods.