Novelist Richard Yates tried for years to bring his 1961 story of marital trouble in ‘50s suburbia to the screen but died before seeing it finally come to fruition in the form of this scorching adaptation by writer Justin Haythe. April (Kate Winslet) and Frank Wheeler (Leonardo DiCaprio) are young marrieds living what appears to be the ideal life in the Connecticut of the 1950s. He has a nice job she is a mother of two with dreams of an acting career. But beneath the surface is a lingering dissatisfaction with their lives; Frank is having an affair with an office worker (Zoe Kazan) and April is terribly unhappy with the way her life is turning out. They engage in ferocious arguments constantly disproving the idea they are the perfect couple. One day April decides the answer to all their problems is to move to Paris and start over. Frank initially agrees but the relationship goes downhill even further from there and things spiral out of control. Revolutionary Road’s brilliant ensemble ignites and delivers on just about every level imaginable. Kate Winslet who seemingly can do no wrong these days is heartbreakingly good as a housewife who foreshadows the feminist movement. Her April is an ambitious confused woman tragically living a couple of beats ahead of her time. Leonardo DiCaprio gives his finest film performance as a man who knows he is not living up to his potential but seems to be in a state of denial trying almost pathetically to keep what’s left of his marriage and family together. It’s the subtext and unspoken words between them that really give power to these tremendously effective performances. After the first 10 minutes you will be so mesmerized by their raw naked acting you will forget you are watching the two young stars who first appeared together in Titanic a decade earlier. Kathy Bates as a cheerful real estate agent with her own family problems is also quite good as is Michael Shannon as her disturbed grown son who seems to know more about the sad state of the Wheelers home life than anyone realizes. He should be a frontrunner for the supporting actor Oscar if there is any justice. Also blending in nicely are Kathryn Hahn and David Harbour as neighbors who are the polar opposite of Frank and April. Sam Mendes who won an Oscar for directing yet another stinging view of suburbia with his Oscar-winning American Beauty does another great job of bringing out the essence of what Yates says about a generation hiding behind a façade of happiness but living on the cusp of great profound social change. Mendes lets long dialogue scenes play out packing them with riveting moments. His filmmaking style should be savored for the insights it provides and the emotional challenges it presents. Mendes also manages to get an extraordinary portrayal of suburban angst from his real-life wife Winslet. Not since Elizabeth Taylor and Richard Burton battled so brazenly in 1966’s Who's Afraid of Virginia Woolf has there been a wounded couple’s marriage so deeply and poignantly exposed on screen.
Cooked up in the head of Oscar-winning screenwriter Charlie Kaufman (Being John Malkovich) comes the movie in which he makes his directorial debut. Without Michel Gondry or Spike Jonze sifting through the maze this time Kaufman himself weaves this crazy quilt with consummate skill. In other words Synecdoche New York is just as successfully quirky humane and head scratching as all the others in the Kaufman ouerve. To sum up the plot succinctly is impossible but it centers on a stage director and hypochondriac Caden Cotard (Philip Seymour Hoffman) who trades in his suburban life with wife Adele (Catherine Keener) daughter Olive (Sadie Goldstein) and regional theatrical work in Schenectady for a chance at Broadway. He puts together a cast (resembling those in his own dream world) and brings them to a Manhattan warehouse being designed as a replica of the city outside. As the world he is creating inside these walls expands so does the focus of his own life and relationships. As the years literally fly by he gets deeper into his theatrical self which soon starts to merge with his own increasingly pathetic reality. Whatever you make of the tale Kaufman is telling here the casting could not be better or more suited to the quirky material. Philip Seymour Hoffman offers up a tour-de-force and is simply superb playing all the tics and foibles of the deeply disturbed Caden. His early scenes in his “normal” home are wonderfully alive with all his phobias and hypochondria in view. Later we literally watch this man disintegrate as his master creation overwhelms him. Hoffman seems to fully understand the mental trauma of a man running as far from his own realities as he possibly can. Catherine Keener as always is right on target as his wife Adele. She has a knack for taking what seems like tiny moments and making them define exactly who this woman is. Jennifer Jason Leigh as a mentor to Caden’s daughter is always fascinating to watch and plays Maria with an ounce of irony. Tom Noonan playing the actor portraying Caden in the play is the perfect doppelganger and delightfully adds to Caden’s confused state. The all-pro trio of Michelle Williams as Caden’s new wife Claire; Samantha Morton as the irresistible assistant Hazel; and Hope Davis as Caden’s self-absorbed therapist add greatly to the merry mix. It’s nice to watch Charlie Kaufman seize control of his own work. In this instance he’s really the only one who can deliver us his Fellini-esque vision. Centering it all on the theatrical director’s weird universe Synecdoche does seem like it might be Kaufman’s own take on Fellini’s 8 ½ or even Woody Allen’s paean to that film Stardust Memories. Let’s just say we know most of it must exist somewhere inside Kaufman. Early domestic scenes could have been played flat but the novice director moves the camera around skillfully enough to make us immediately engaged in Caden’s world. Second half of the film set in the phantasmagoric warehouse is a stunning tapestry of scenes from Kaufman’s singularly fertile imagination. It’s nice to note he’s well equipped with the basic tools a director needs for this type of challenging material. Overall his film is a surprising confounding visual feast -- a dream/nightmare come to life and then spinning out of control.
Holly Kennedy (Hilary Swank) doesn’t know how lucky she has it. She’s smart beautiful and married to Gerry (Gerald Butler) a passionate funny and impetuous Irishman who loves her with every breath in his body. But when that breath runs out--Gerry dies unexpectedly from an illness--Holly’s luck runs out. Barely coping her salvation arrives in the form of letters from Gerry that come to Holly in unexpected ways--letters he wrote to her before he died to help her get through the pain and move on with her life and letters that always end with “P.S. I Love You.” A saint huh? Holly’s mother (Kathy Bates) and best friends Sharon (Gina Gershon) and Denise (Lisa Kudrow) begin to worry Gerry’s letters are keeping Holly tied to the past but in fact each letter pushes Holly on a journey of rediscovery and to show her how a love so strong can turn the finality of death into new beginning for life. Tissues please! Swank will be damned if she pigeonholes herself into always playing serious women who don’t wear makeup. P.S. I Love You is her stab at romantic dramedy and while the genre may not suit her best the Oscar-winning actress still has fun playing a spirited woman who wears designer clothes cute hats and gets to make out with a strapping Irish hunk. Actually Swank gets to bed TWO strapping Irish hunks in P.S. I Love You: The first is the yummy Butler of course and the other is Gerry’s old bandmate William played by American Jeffrey Dean Morgan (who’ll be seen in the upcoming romantic comedy The Accidental Husband with Uma Thurman). Lucky girl. Butler however is the one the ladies will sigh over the most. Having already given a powerhouse performance this year as the Spartan king in 300 the Scottish actor turns the tables to show his soft underbelly as the adorably romantic and fun-lovin’ Gerry. The abs still rock though. One can easily see why Holly is such a mess after he dies. Gershon and Kudrow add some genuineness as Holly’s friends (someone please find a Kudrow a TV show) as does Bates as Holly’s hardened mother. Harry Connick Jr. however seems out of place as Holly’s would-be suitor. She just needs to stick with the Irish guys. Hilary Swank teams up with her Freedom Writers director Richard LaGravenese once again for P.S. I Love You and it’s clear they have a symbiotic relationship. Swank probably likes the way LaGravenese accentuates her best features turning her into a glam leading lady while LaGravenese obviously enjoys gazing at her through his camera lens. Unfortunately the two really haven’t found the best material. Freedom Writers is the mother of all teacher-gets-students-motivated retreads while P.S. I Love You--based on a novel by Cecelia Ahern and adapted by LaGravenese and Steven Rogers--is just pure fluff with very little substance behind it. Not that the film won't inspire some romantic feelings or work up tears but its only real strengths are: 1) the players who somehow rise about the triteness of it all especially Butler and 2) the gorgeous landscapes of Ireland which should send any woman in her right mind straight to the Emerald Isles to find her perfect man. Seriously ladies book your trips NOW.
Based on a series of six Marvel Comics created by writer Stan Lee and artist Jack Kirby in 1962 The Hulk revolves around a scientist named Bruce Banner (Eric Bana) who following a laboratory snafu absorbs a normally deadly dose of gamma radiation. Bruce thinks he has escaped unscathed--until he gets mad ... real mad which causes him to turn into a huge rampaging green monster known as the Hulk. In order to make this 40-year-old gamma theory somewhat more believable for today's science-savvy moviegoers screenwriter James Schamus and his team decided to arm the script with a somewhat more convincing scientific rationale. The story follows Bruce's father David Banner (Nick Nolte) who as a young scientist conducted prohibited genetic experiments on himself thus changing his son's life before he was even out of the womb. While modernizing the scientific reasoning behind Bruce's transformation makes sense it's a pity it had to be done in such a heavy-handed way. By adding such an elaborate layer to the story The Hulk becomes more about Bruce and David's tormented past and any semblance of a plot is buried in melodramatic dialogue between the characters. The result is a comic book adaptation that is much too serious for its own genre.
Despite the theatrical discourse don't expect complex characters to emerge from The Hulk. Although Bana (Black Hawk Down) is a good choice for the lead of the nerdy scientist and reluctant hero his character is so busy pretending he doesn't have any problems that the audience never gets to see his emotional side. Bana's character grimaces convincingly as he represses his anger for example but he fails ever to open up on a personal level to his love interest in the film his co-worker Betty played by Jennifer Connelly (A Beautiful Mind). Betty is Bruce's old flame but the two are obviously still in love: she is obsessed with fixing whatever is broken about him. As the Hulk Bruce need only look at Betty once for his anger to subside and allow him to morph back into human form. They have weighty discussions about the significance of their dreams and Bruce's past yet they never seem to connect on any level. One of the film's best performances comes from Nolte (The Good Thief) in the role of Bruce's mad scientist father David. Almost Shakespearean at times Nolte--scraggly hair and all-- completely immerses himself in the role. The cast's performances however are muted by the general heaviness of this would-be actioner. Look for quick cameo appearances by Lou Ferrigno (from the 1970s TV series The Incredible Hulk) and Marvel legend Stan Lee.
For his follow-up to Crouching Tiger Hidden Dragon Ang Lee has turned to bigger greener matters. The Hulk the director's visual effects-intense picture (with a little help from Industrial Light & Magic) is stunning and startlingly well done. The green beast's computer generated movements from his heaving chest to the single leaps that spring him well into a different zip code are convincingly real. Not only does the ground shake when this goliath lands but his momentum even throws him off balance at times sending his lumbering arms flailing. But while the CGI Hulk has been meticulously honed Lee's homage to the world of print comic books--using multiple screens to present concurrent storylines and alternate angles of the same scene--is off-putting: Rival researcher Glenn Talbot (Josh Lucas) suspiciously walks out of the lab Betty reacts in one panel Bruce sits back in another. The simultaneous screens don't necessarily show anything pertinent going on making the far and wide close and medium shots of the character's reactions a distraction rather than a helpful storytelling technique. But the most disconcerting thing about the film is that in its leap from the four-color paneled pages to the big screen it lost its wit.
September 27, 2002 10:25am EST
Ben and JoJo Floss' daughter Diana is gunned down only days before her wedding when she accidentally gets in the way of a violent husband-and-wife dispute at a Cape Anne Mass. restaurant. Her fiancé Joe soon becomes a surrogate member of the Floss family and the three cope with their grief in various ways. JoJo attempts to avoid all the attention that is being paid the family and Ben throws himself--and Joe--into a commercial real estate venture that needs big-time developer Mike's support to succeed. Joe meanwhile combs through big bins of undelivered mail with postmaster Bertie in an effort to retrieve the 75 wedding invitations that had been sent. Bertie who in addition to her postal work also helps out in the local bar owned by her missing-in-'Nam-action beau is also grieving and soon she and Ben are a couple. As writer-director Brad Silberling's gentle drama unfolds it becomes clear that the film is a "hundred-whys" effort. For a start why is the film titled Moonlight Mile a lesser-known Rolling Stones song? It's never explained. And why does the film take place in 1973 when only the film's rollicking soundtrack and a passing reference to the Vietnam War evoke the era? These questions--and the many many other whys in Moonlight Mile--remain unanswered resulting in a film that falls as flat as a bad souffle.
The actors in Moonlight Mile for example are among the choicest of ingredients--three Oscar winners a promising newcomer and an almost legendary comic talent. So why is young Jake Gyllenhaal so bland as the sweet hero-fiancé Joe so opaque and passive suggesting nothing of a background education or professional aspirations? Why did talented Oscar winners Dustin Hoffman and Susan Sarandon agree to star as the parents except for the fact that each actor is given the chance to sink his or her teeth into an 11th hour set piece? Why do Oscar winner Holly Hunter (as the tough prosecuting attorney Mona who warns Joe Ben and JoJo that there's a good chance the perpetrator will get off lightly) and comic virtuoso Dabney Coleman (as gruff real estate developer Mike) squander their talents?
Part of the answer to all the whys Moonlight Mile raises can be found in Silberling's direction. He clearly knows the ingredients Hollywood seems to want these days: nice recognizable characters in emotionally wrenching situations; some resonance of a bygone period; a soundtrack that will help with the marketing; big-name leads and a compelling young star; a dash of unpredictability and feel-good ending. But as Silberling mixes up this all-too-familiar recipe his strokes create a thin watery batter that just refuses to rise above cliché. As a writer he knows the rules but he skirts wit irony humor and convincing raw emotion in favor of the formula raising more questions than he answers.
A promising young playwright Sidda Lee Walker (Sandra Bullock) lives in New York far enough away from her Louisiana hometown. After she gives a damaging interview to Time magazine--damaging mainly to her mother Vivianne Abbott Walker (Ellen Burstyn) who doesn't take lightly to her daughter's intonations that she was not a good mother--the two women begin a feud. It threatens to destroy not only their relationship but Sidda's own plans to marry her longtime boyfriend Connor (Angus MacFadyen). Enter the Ya-Ya Sisterhood--Caro (Maggie Smith) Teensy (Fionnula Flanagan) and Necie (Shirley Knight) Vivi's lifelong best friends. To bring mother and daughter back together the women decide it's time for Sidda to learn about the Divine Secrets of their little clique--and about her mother's painful past. They tell Sidda stories about the young Vivi (Ashley Judd) who was full of promise and hope but how certain tragic events damaged her. The bond between these four older women is unshakable and the most honest element to the film. The sad news for the novel's fans however is that while the script manages to convey the true spirit of friendship it can't quite capture the magic of the book.
In a cast of many the film is chock-full of wonderful performances but it's the matured Ya-Yas who steal the show. Smith plays the tough Caro a lifelong smoker now saddled with emphysema with all the biting wit the actress is best known for while Knight plays the sweet no-nonsense Necie with just a hint of sarcasm. Flanagan the best of the three shines as the wealthy Teensy a recovering alcoholic who has faced demons herself. Her exchanges are some of the more memorable especially when after being told by an angry Vivi that she could knock Teensy into next week Teensy tells her friend "And I'll kick your ass on Thursday." Yet the film truly belongs to Burstyn and Judd as the different faces of Vivi. Burstyn is all at once the highly dramatic Southern beauty who has come to terms with (or remained steeped in denial about however you look at it) her painful past while Judd gets to show us the nitty-gritty of what actually happened to Vivi to harden her. Unfortunately the weakest member of this ensemble cast is Bullock as Sidda. She never quite convinces us she grew up in such an eccentric and terribly Southern environment. And not to leave out the men completely--James Garner plays Sidda's father Shep with quiet patience having survived life with his lady love who never loved him quite the same in return. The devoted Connor mirrors Shep but MacFadyen plays him with a lot more backbone.
Oscar-winning screenwriter Callie Khouri (Thelma & Louise) couldn't have chosen a better film to make as her directorial debut. Sure she might be pigeonholed forever as the "chick flick" girl but she probably doesn't care much. Khouri had been approached to adapt Wells' novel a few times over the last couple of years but never had the time to do it. When the right time came along Khouri wisely decided it was also time to take on the directing chores. Even as a novice the writer/director shows us she knows her way around a camera. The film captures that Southern feel lush and languid as the moss drips down from the trees. She also knows how to handle her actors too and is able to elicit great performances (although with the likes of Burstyn and Smith this isn't hard to do). The soundtrack also is an added bonus with a variation of music from jazz to Louisiana Cajun. Yet even with all this going for it Divine Secrets misses a beat. In a novel it's great to read stories about an eccentric Southern family but to have vignettes told to you as a framework for a movie it can slow a film down. You probably won't be able to drag your husband to go see this one.