Gillian Anderson is Lily Bart a woman of shaky means for who parties are business and the pursuit of marriage has become a constant vocation. She falls in love with Lawrence Seldon (Eric Stoltz) but quickly realizes she can't seriously consider him since he actually works for a living. Still her efforts to marry for money instead of love are so half-hearted that she sabotages her chances with a wealthy prig and continues her flirting gambling cigarette-smoking ways. This in turn puts her out of favor with her rich aunt and a tragic demise waits in the wings. Bribery extortion and character assassination rear their scandalous heads as the wrong men make improper plays for the desirable Lily. Intriguing as it may sound revealing letters that have been tossed into a fire are all that smolders in this film.
Leaving the realm of supernatural phenomenon ("X-Files") for the spookier world of Victorian society Gillian Anderson plays the ever so wronged but resolutely brave Lily. Anderson's self-righteousness and wretched desperation fail to endear her leaving her tragic long-suffering Lily somewhat remote. But it's Stoltz's opaque inert Lawrence who truly irritates. A once-likeable actor he has begun to play all his roles with a tad too much smugness. Sincere but utterly passive the character is annoyingly subdued. Laura Linney is refreshingly vital as the dangerous Bertha. Dan Aykroyd fails to impress as a villain in sheep's clothes and Eleanor Bron is a caricature of a stern sour aunt.
After seeing one too many Merchant Ivory films one might tire of the convention in which a woman of meager means falls for a poor working man while searching for a rich husband. And for those who haven't seen any you just might tire of it midway through Terence Davies' languid dour drama. Davies ("The Neon Bible " "Distant Voices Still Lives") doesn't do for Wharton what Martin Scorsese did in "Age of Innocence " namely bring her words to lively engaging life.
Based on a novel by Catherine Ryan Hyde "Pay It Forward" is about a boy named Trevor McKinney (Haley Joel Osment) who is inspired by his social studies teacher Mr. Simonet (Kevin Spacey) and comes up with a school project based on a simple concept: Don't wait to pay back good deeds; pay them forward three times over. One of the boy's attempts to do good includes bringing his teacher together with his alcoholic single mother Arlene (Helen Hunt).
This movie has all the makings of Oscar. Two-time Oscar winner Spacey is solid as usual and escapes into the role of Mr. Simonet whose facial and bodily burn scars hide a tragic secret. Oscar winner Hunt gets a chance to really flex her acting muscles and she does. Her scenes with young Osment are especially gripping. But the revelation in "Pay It Forward" is Osment. This boy was born to act and he improves upon his already impressive turn in "The Sixth Sense." It would be nice to see Osment win Oscar this year and Spacey and Hunt will surely receive nominations. Providing strong supporting work are Angie Dickinson Jay Mohr and James Caviezel and Jon Bon Jovi appears in a fortunately brief cameo.
Mimi Leder ("Deep Impact " "The Peacemaker") takes a break from action films and slows it down way down with "Pay It Forward." Her foray into the non-action realm is shaky. Some of the scenes are out of place and take away from the overall effectiveness of the film. One major and surprising plot point is heartbreaking unnecessary and executed in a contrived manner. And the ending is disjointed from the feel of the rest of the film. Fortunately for Leder she has an amazing cast and a strong story from author Hyde.
Bobby Garfield (David Morse) returns to his small hometown to attend the funeral of his childhood friend and remembers the fateful summer in 1960 when his whole world changed. The story flashes back to when 11-year-old Bobby (Anton Yelchin) and his best friends Carol (Mika Boorem) and Sully-John (Will Rothhaar) capture the pure joy of youthfulness. When a mysterious stranger named Ted Brautigan (Anthony Hopkins) moves upstairs and starts to pay attention to Bobby the boy suddenly realizes what's truly missing from his life--the love of a parent. Bobby's mother Liz (Hope Davis) is embittered by the death of Bobby's father and shows little compassion for her son's growing needs. Ted fills a void with the boy opening his eyes to the world around him and helps Bobby come to terms with his real feelings for Carol--and his mother. But Ted also has some deep dark secrets of his own and Bobby tries hard to stop danger from reaching the old man.
The performances make the film especially in the genuine camaraderie of the kids. Yelchin Boorem and Rothhaar never deliver a false move with an easiness that makes us believe we are simply watching three 11-year-old children grow up together. Yelchin in particular is able to get right to the heart of this young boy who misses his father and clings to the only adult who will listen. And his scenes with Boorem simply break your heart. (Davis) does an admirable job playing a part none too sympathetic. She manages to show a woman whose been beaten down but who does truly love her son in her own way. Morse too is one of those character actors you can plug in any movie and get a performance worth noting. In Hearts you want to see more of him. Of course the film shines brightest when Hopkins is on the screen. It may not be an Oscar-caliber performance but the actor is unparalleled in bringing a character to life--showing the subtleties of an old man looking for some peace in his life.
If you are expecting the Stephen King novel you may be disappointed. Screenwriter William Goldman and director Scott Hicks (Shine) deftly extracted the King formula of telling a story through a child's eye and explaining how the relationships formed as a child shaped the adult later. Hicks did an amazing job with his young actors especially Yelchin and Boorem. But where the novel continued into a supernatural theme explaining Brautigan's fear of being captured by "low men in yellow coats" (a reference to King's The Dark Tower series) the movie downplayed the mystical elements instead giving real explanations for Brautigan's man-on-the-run. That was the one problem with Hearts--we needed more danger. Introducing men from another dimension may not have been the way to go but had there been more tension the film would have resonated more especially when Bobby risked his own safety to save Ted.
Alpine University film student Amy Mayfield (Jennifer Morrison) needs to start her senior project but she's stymied by a case of screenwriter's block. Then a chance encounter with the new campus cop (Loretta Devine the only link to the original "Urban Legend") gives her an idea: She'll make a film about a serial killer who slays college students in ways related to urban legends. Needless to say her cast and crew members (Joseph Lawrence Eva Mendez Jessica Cauffiel) start to disappear in a series of bizarre and mysterious incidents. And yes the killer is the person you would least suspect but only because he/she lacks a plausible motive.
Morrison ("Stir of Echoes") never finds the right mix of vulnerability naïveté and attitude to play the slasher flick damsel-in-distress-turned-heroine. (And she's never in any real peril.) Sorely missing are the outrageous performances that Rebecca Gayheart Danielle Harris and Julian Richings provided in the original "Urban Legend" -- the supporting players shackled to tired Hollywood clichés and a lackluster story never get to exercise their dramatic talents.
Freshman director John Ottman struggles with an already sputtering script by Paul Harris Boardman and Scott Derrickson. Apparently the muse of over-the-top schlock horror blessed the first 15 minutes of the film then succumbed to spontaneous human combustion. With the exception of a mildly amusing "Blair Witch" cinéma-vérité parody the balance of the film generates neither thrill nor swill.
Two friends (Jon Cryer and Rick Stear) find out that their missing high-school chum (Rafael Baez) is now insane and living at New York's decaying Coney Island amusement park. Naturally the guys ditch work and set out in search of their bud and spend an inordinate amount of time wandering around the ramshackle landmark talking to a weirdo skeeball guy (Frank Whaley). Over time one guy confronts his own alcoholism and the other deals with family problems. Oh yeah and they find their nutty friend.
This one's got a lot of indie cred: Whaley and Ione Skye have been doing the little-movie thing for years now and Cryer is a veteran of Schenkman's "Pompatus." The best performance is from Baez an up-and-coming actor whose depiction of mental illness (not an easy thing to do) is pretty disturbing.
This is the latest from Richard Schenkman best known for the equally talky and lethargic "The Pompatus of Love " which also was about guys in their 30s (finally) confronting adulthood. Schenkman's style of writing a directing is slow introspective and ultimately more suited to the confines of a small theater stage than the camera lens.
The second feature in the planet-conquering Japanese franchise opens with an all- Pokémon all-gibberish short feature that will have parents reaching for the Tylenol even sooner than expected then we cut to the main adventure titled "The Power of One." A scheming Pokémon Collector named Jirarudan begins snatching up winged Poki with the power to control fire lightning and ice destabilizing Earth's weather patterns. It's up to brave young Pokémon Trainer Ash Ketchum his chubby yellow pocket monster Pikachu and their friends to put things right.
It's a sad state of affairs when voice actor Ikue Otani manages to steal the show chirping his character's name over and over as the floppy-eared lightning-tailed Pikachu. The thespians lending their vocals to the human characters have less chance to be impressive saddled as they are with the film's clumsy English translation of Pokémon arcana and the occasional witless pun.
Kunihiko Yuyama's team puts no special stamp on the series' generic Japanese toon work which bears a closer resemblance to primitive TV fare in the "Speed Racer" or "Astro Boy" vein than the cutting-edge artistry going into modern anime epics such as "Princess Mononoke." Computer-rendered shots of Jirarudan's elaborate flying fortress and churning ocean waves are impressive in themselves but they clash with the traditionally animated material. Not that the grade school-age target audience is likely to mind.
Brace yourself Dr. Laura. This clueless teen queen (Natasha Lyonne) has it all: good looks a football captain boyfriend and a popular pair of pom-poms. But her candy-colored world crumbles when her panicked parents stage an intervention after finding a Melissa Etheridge poster that leads them to conclude she's a friend of Ellen. After being carted off to an anti-gay rehab camp for teens the perky princess must choose between the straight and narrow-minded or the love that dare not speak its name.
The quirky ensemble casting is half this film's fun. Lyonne is charming as the pepster tempted by T&A and she sparks onscreen with swanky and sexy co-star Clea DuVall who plays the butch femme fatale suitor (alarmingly reminiscent of Nancy McKeon's Jo from "The Facts of Life.") Drag queen supreme RuPaul is unrecognizable out of his high heels and even higher blond wig wearing a "Straight is Great" T-shirt as a macho militant ex-gay counselor. Cathy Moriaty is sweetly sinister as the homophobic headmistress and Mink Stole steals scenes as the uptight upright meddling mom.
Kudos to Jamie Babbit for tackling this hot-potato topic but this well-intentioned film too often misses its mark turning potentially comical scenes into unbearably awkward moments. Babbit fouls when tugging at the heartstrings but hits home runs when the humor is at its broadest.