Based on Ian McEwan’s equally stirring novel we begin the story in 1935 on the cusp of WWII. Briony Tallis (Saoirse Ronan) a 13-year-old fledgling writer lives with her wealthy family in their enormous English country mansion and on one hot summer day she irrevocably changes the course of three lives including her own. It seems the housekeeper’s son Robbie Turner (James McAvoy) carries a torch for Briony’s older sister Cecilia (Keira Knightley). And on this warm day it becomes clear she feels the same way; their love ignites. Little Briony who harbors her own secret crush on Robbie witnesses the beginnings of this love affair and not understanding its meaning feels compelled to interfere going so far as accusing Robbie of a crime he did not commit. He is arrested and whisked away eventually forced into the British army but thankfully the two lovers have a moment before he goes to war to reconnect. Cecilia promises to wait for him urging him to “come back” to her once the madness he is about to become immersed in is over. Meanwhile Briony (played in adult years by Romola Garai and Vanessa Redgrave) has grown up regretting every single moment of that fateful day and in desperately trying to seek forgiveness finally finds a path to understanding the power of enduring love. The performances in Atonement are nothing less than captivating beginning with the young Irish rose Saoirse Ronan (who is also set to play the lead in Peter Jackson’s The Lovely Bones). Since it is primarily Briony’s story Ronan must make the first most indelible impression and set the tone for the rest of the movie--and she succeeds on every level. From the moment you see Ronan’s pale face clear-blue eyes and steadfast gait you immediately recognize Briony’s need and determination to make everything in her life just so. Indeed Briony is a strongly focused child and Ronan so embodies the character an Oscar nomination is almost a certainty. As the 18-year-old Briony Garai (Dirty Dancing 2) does the best she can following such a tough act as Ronan but can never quite match the same intensity. On the other hand Redgrave who comes in at the very end as the much older Briony nails it right away adding her own nuances to a character who has lived a full life. Of course Knightley and McAvoy are no slouches either vividly capturing the passion bubbling up between Cecilia and Robbie then turning around and showing the heartache as their love is ripped apart. McAvoy is particularly effecting as his Robbie must also witness some truly horrific wartime scenes. Actually Oscar nods should come fast and furious for everyone in Atonement. With Pride & Prejudice and now Atonement director Joe Wright may have just established himself as the new James Ivory (of Merchant/Ivory fame). Wright is a real visionary for the romantic period piece expertly delivering truly spectacular vistas. From set design to costumes to cinematography the look of Atonement is at once verdant welcoming and then startlingly grim. The first half of Atonement at the Tallis’ country home is certainly the film’s most defining peppered by an effective musical score which uses the sound of a typewriter like a metronome. Through a soft lens Wright displays the general idleness of summer day at a country home like a sunny floral motif that belies an undercurrent of sweating bodies wilting flowers stagnant pools--and an imminent tragic event. Then once Wright moves with Robbie into WWII he actually paints an even more grim view of war then maybe seen before. The one continuous shot of the historical Dunkirk--a French beach on which thousands of British soldiers were forced by the Germans and then waited to be evacuated--is absolutely stunning and surreal. Atonement does drag ever-so-slightly in the middle especially as Briony trains to be a nurse in London but overall this is a film Academy voters eat up with a silver spoon. Expect to be hearing about it in the months to come.
December 13, 2002 4:56am EST
As Star Trek: Nemesis begins its journey the U.S.S. Starship Enterprise is enjoying Officer William T. Riker (Jonathan Frakes) and Counselor Deanna Troi's (Marina Sirtis) wedding reception. But the celebrations come to halt when Engineer La Forge (Levar Burton) detects some sort of electromagnetic signal coming from the nearby planet Kolaris III. A crew from the Enterprise heads to the planet to investigate and finds scattered body parts of what looks like an android prototype of Lt. Commander Data (Brent Spiner). Before they can put the android back together again Captain Jean-Luc Picard (Patrick Stewart) receives a message from Admiral Janeway (Kate Mulgrew) that the Romulans have undergone a revolution and their new Praetor (leader) wants to discuss peace with the Federation. But when a hesitant Picard and his crew arrive on the planet they discover that the Praetor Shinzon (Tom Hardy) is not actually a Romulan but a human from Romulus' sister planet Remus. And not only is he human--he's a younger clone of Picard. Shinzon is hell-bent on revenge and wants to destroy everything in his path including the Enterprise the Federation and Earth but first he has a score to settle with Picard. Meanwhile Data struggles with what to make of his own double B-4.
Stewart's Picard faces his most personal enemy here in Shinzon and must grapple with heavy moral issues. Although Shinzon is maniacal and antagonistic Picard cannot help but wonder if he would have turned out the same way had his life been like Shinzon's. Stewart delivers a great performance as his character finds his judgement clouded by Shinzon. Shinzon as played by Hardy (Black Hawk Down) with a shaved head and a sculpted latex nose and chin is believable as Picard's doppelganger (although I hate to say that with the pale skin and scarred lip he looks an awful lot like Mike Myers's Dr. Evil). While Picard and Shinzon are dealing with their own issues Spiner's Data is going through his own personal turmoil. His prototype recovered on Kolaris III B-4 is not as advanced as he is prompting Data to turn him into a better android. Not since the Star Trek TNG episode "The Measure of Man" has Data's character been explored so in depth. Cast members Frakes Sirtis Burton and Michael Dorn (Worf) take a back seat in Nemesis allowing the film to focus on the main story line involving Picard Shinzon and Data.
Nemesis was directed by Star Trek newcomer Stuart Baird who stays true to the franchise's tradition by delivering a film that encapsulates a good story with great dialogue without going overboard on the special effects. As the film opens for example the crew has been forced to land on Kolaris III the old-fashioned way since an ion storm has disrupted transporting capabilities. Baird provides some great footage of the planet's surface which is bathed in sepia-toned light complete with the some great shots of the crew riding around in the Argo a sort of high-tech dune buggy. Scribe John Logan (Time Machine) introduces an interesting new race the Remans and a personal foe with Shinzon who although not as menacing as the Borg or as complex as Kahn is just as warped. The most compelling aspect of the film however has to do with Data and his desire to be the best "person" he can be. Nemesis encompasses the kind of dramatic storytelling that made the series created by Gene Roddenberry more than 25 years ago so intriguing. It is also a reminder of what the series was all about: "To explore strange new worlds to seek out new life and new civilization..."