Dr. Matt Fowler (Tom Wilkinson) and his wife Ruth (Sissy Spacek) are throwing a summer barbecue at which their lone prodigy Frank (Nick Stahl) is proudly showing off his summer romance. Ruth vehemently disapproves: Natalie (Marisa Tomei) is an older single mother of two who is not quite divorced from the dark abusive Richard Strout (William Mapother) whose family runs their town of Camden Maine. For Frank Natalie is someone to keep the pipes greased before he heads off to study architecture at graduate school in the fall. Maybe. Frank is thinking of getting serious with Natalie and ditching school if Natalie would have him but there's that not quite ex-husband to deal with. The not quite ex-husband ends up killing Frank (this is supposed to be a plot twist but is the only action in the first two hours of the movie) which leads to much soul searching for Matt and Ruth--the raison d'etre of the movie.
With all due respect to Spacek who's been receiving a lot of Oscar buzz for her turn it's really Tom Wilkinson (The Full Monty Wilde The Patriot) who gives the most outstanding astonishing performance in this film. Matt's stilted missteps at each and every turn are so human so real you empathize with the pain he's feeling while you cringe at his every inappropriate action. An Academy win for Wilkinson seems more than merited though likely won't happen. Marisa Tomei is as good as she's ever been in the role of Frank's lover Natalie. The emotional tug-of-war in her relationship with Nick is clear on her face and the distress of never getting Ruth's approval is deafening. Spacek has a hard time claiming even the second-best performance of the film but she is compelling as Ruth the kind-hearted high school teacher who's become more closed and unforgiving than she ever imagined. You can see Spacek shutting down as her world crumbles around her. William Mapother and Nick Stahl do fine jobs with their (relatively) limited characters especially Mapother who is sufficiently creepy and desperate as Natalie's husband.
An actor turned director Todd Field wastes the fine performances in his debut film. Field seemingly likes to impart significance in the mundane moments of real life which works only sporadically. Field's direction is similar to Matt's reaction to his son's death: all of his actions seem stiff and mannered and when he does do something appropriate it's a complete accident. Worse Field leaves no room for character development only letting the characters descend further and further into despair ultimately turning the film into an art house Death Wish. (With apologies to Charles Bronson.) Given the supposed strength of the Maine proletariat it would have nice to see Matt and Ruth Fowler struggle against their evil inclinations before giving in so completely. Under Field's helming the film flounders at inopportune moments rendering the story utterly meaningless.
The vampire Lestat de Lioncourt (Stuart Townsend) wakes from a hundred-year sleep to the rock 'n' roll present day and likes what he sees and hears. Tired of the vampire's solitary life he becomes the frontman for an unknown rock band and transforms it into the latest greatest thing gaining the adulation of millions. He also decides to disregard the unspoken rule that vampires must hide away from the rest of world and writes songs encoded with specifics of the secret life of vampires. As expected Lestat's lyrics draw the attention of both the bloodsuckers who want to destroy him and the human vampire scholars (called the Talamasca) who want to study him. One young Talamascan student Jesse Reeves (Marguerite Moreau) becomes obsessed with Lestat after reading his journal from the 1800s. She learns that Lestat had a brief encounter with Queen Akasha (Aaliyah) the most ancient and dangerous vampire to ever exist and the mother of all who walk the Earth in search of blood. He gets his chance to meet Akasha again when his music awakens her from an ancient slumber. She rises and seeks out Lestat to become her king and join her in ruling the world.
The film truly belongs to Townsend and fans of the Anne Rice's novels will be happy to know he completely embodies the charismatic vampire Lestat. The little-known Irish actor who starred in last year's indie About Adam with Kate Hudson rules the screen whenever he is on it and luckily he's on it quite a lot. He's especially powerful when he is in rock star mode. Although Moreau's Jesse is fairly one dimensional she comes alive in her scenes with Townsend. Let's hope they keep asking him to play Lestat (when and if they make any more films from Rice's vampire novels) and next time give him an actress he can have some real chemistry with. The late R&B singer Aaliyah made her second film appearance in Damned as the queen. Even though she is only in the film a short time she possesses a certain charm as the ancient and evil Queen Akasha and makes a great first impression by destroying a vampire coven. Yet her acting skills are just not up to par with the rest of the cast including the charismatic Vincent Perez as the vampire Marius and Lena Olin as the kind-hearted vampire Maharet.
Damned was set to be released in the fall of last year but word of mouth had the film destined for the video shelf before it even made it to the big screen. Then tragedy struck and as the news of Aaliyah's untimely death echoed throughout the world of entertainment Warner Bros. wisely decided to hold onto it and release it in theaters at a more favorable time knowing there would be an audience who'd want to see the singer's last film. Yet for all the bad press surrounding it Damned actually pleasantly surprises you due largely in part to Townsend's mesmerizing performance. Michael Rymer's direction is not a masterpiece of filmmaking by any stretch of the imagination but it has a certain MTV quality about it which makes it appealing. That same quality however also makes it too slick glossing over the meatier parts of Rice's novel making the dialogue and action trite and sometimes downright silly. Come to think of it the 1994 Interview With the Vampire also suffered from the same thing. Maybe translating Rice's words is harder than it looks.
Arthur Kriticos (Tony Shalhoub) is trying to keep his small family together after losing his wife and the mother of their kids Kathy (Shannon Elizabeth) and Bobby (Alec Roberts) in a tragic fire that left them homeless. Out of nowhere one enigmatic Uncle Cyrus (F. Murray Abraham) wills Arthur a bizarre yet dazzlingly beautiful mansion made almost entirely of glass and filled with priceless antiques. There's not much that could go unseen behind the transparent walls except for perhaps 12 pesky ghosts of disturbed folks like onetime mental patients and a kid whose head got in the way of an arrow. It just so happens old Cyrus with the help of his psychic phantom-wrangler Rafkin (Matthew Lillard) has been summoning up a few restless spirits so he can open the Eye of Hell and take over the world or something. They just need one more spirit to finish the job.
All right who's blackmailing Oscar-winner Abraham into taking roles like this? The man should have thrown the script out sight-unseen and then fired his agent. Rah Digga yet another rapper-turned-wanna-be-actress is there to offer some sassy comic relief as the kids' nanny--she's fun in a usual sort of way. Shalhoub-ho hum. Elizabeth? Yawn. She's not even in half the movie. Lillard it can be said is about the only bright spot in this otherwise not-silly-enough not-cheesy-enough not-funny-or-scary-enough horror movie. He's got the right idea as he tries to camp it up as a borderline hysterical psychic who has guilt issues about being able to see everyone's secrets with his "gift." But worst of all is the usually great Embeth Davidtz (um Schindler's List?!) as a--get this--ghost's rights activist who thinks she's channeling Zelda Rubenstein from Poltergeist as she hisses the obvious: "This house is not a house!"
The only thing scarier than F. Murray Abraham taking a role in this movie is that it ever got made at all--then again we have the Dark Castle folks (the same ones who brought us that masterpiece remake The Haunting a few years ago) to thank. They forgot to hire a director and a scriptwriter instead putting visual effects guy Steve Beck behind the camera to show us some semi-interesting special effects (it is a ghost movie after all and you better score some points there). Unfortunately the movie is uneven makes little sense and strives for both laughs and scares but achieves neither with cornball dialog and silly stereotypes; it's wildly gory to boot. Everyone's gonna say the ultra-modern haunted house is the star of Thirteen Ghosts and with good reason. The production design in this movie is amazing and the idea of ghosts hiding behind clear walls is an intriguing if ultimately wasted concept.
October 19, 2001 5:57am EST
The film opens with prison warden Colonel Winter (Robert Redford) greeting the highly respected General Irwin (James Gandolfini) at the start of his 10-year sentence for disobeying a presidential order. When they meet Irwin makes a snide remark about Winter--a non combatant--proudly showcasing military trinkets and memorabilia in his office. The comment instantly touches off a power war between the two which ends with Irwin threatening to take over the prison and flying the American flag upside down--a symbol that the castle has fallen. Winter rises to the challenge and the two begin their strategic plotting. Irwin wins the respect of his fellow inmates in an overly drawn scene where he is forced to carry large stones from one pile to another in the prison courtyard and forms an army of inmates using clichéd chess tactics to demonstrate his assault plans. Winter meanwhile watches from his cozy office overlooking the courtyard as if he was watching a reality series on a big-screen TV.
The highly regarded General Irwin is a simple solemn type which unfortunately is what is fundamentally wrong with the film. While Redford does the brooding thing quite well the script never calls for him to do anything more than that. James Gandolfini takes on the role of prison warden Colonel Winter with fitting simplicity. He accentuates Winter's dumb-thug persona by over-enunciating his words and speaking in an unnaturally slow manner. Redford and Gandolfini both churn out great performances but it would have been more rewarding had the script called for their characters to be more well-rounded. Steve Burton plays Winter's right hand man Captain Peretz convincingly considering what few lines he has. His body language facial expressions and dialogue manage to convey his character's thoughts even when his lines don't.
Directed by Rod Lurie (The Contender) The Last Castle is a well-paced story without a dull moment. It concludes with a dramatic and exciting climax but the problem is it's just too simple. While it's easy to get caught up in the story it's hard to buy how easily the inmates are able to take control of such a heavily guarded maximum-security prison. Using cafeteria trays as shields is one thing but hurling stones using a giant catapult that somehow went unnoticed by prison security is hard to swallow. So is the fact that these inmates a group of hardened criminals cooperate so easily with hardly any friction. While it could have been a very emotional story it fails because the characters are one-dimensional and never really explored including the two main characters played by Redford and Gandolfini. One is a great strategist and the other draconian but viewers are left to guess why and how they got that way.
Supermom Claire (Michelle Pfeiffer) and her geneticist husband Norman (Harrison Ford) are adapting to their only daughter's departure to college when Claire begins sensing an unearthly presence in the couple's lakeside Vermont dream home. Is she losing her marbles or is that the spirit of a beautiful young woman she keeps glimpsing? To say any more (as the too-explicit ad campaign does) would spoil some delicious twists.
The toplining Ford is his usual solid self in a role that plays cleverly on his familiar persona but the picture is Pfeiffer's from beginning to end. She delivers one of her most pleasing performances nicely disarming audience doubts about the story's supernatural elements with some judicious eye-rolling and embarrassed frowning -- her character is so painfully aware that what she's saying sounds crazy how can we possibly doubt her? Among the low-key supporting cast Joe Morton ("Terminator 2") stands out as an amiably down-to-earth psychiatrist.
Robert Zemeckis ("Forrest Gump") takes Clark Gregg's highly derivative haunted house script and pours on the Hitchcockian visual flourishes unapologetically pilfering from the Master's "Rear Window" and "Psycho " among others. His extended homage results in scene after scene of almost unbearable tension as the audience waits for the next shock. There's some clunky storytelling in the first section but the all-suspense second half more than makes up for it with some classic work including what seems destined to go down in movie history as "the bathtub scene."
Nora (Olympia Dukakis) is bonkers enough to jackhammer tunnels beneath her suburban home while her three adults daughters (Deborah Hedwall Catherine Corpeny and Wendy Hoopes) are only marginally more stable. Then patriarch Tom (Roy Scheider) shows up after a 15-year absence with wild ideas about fortifying the homestead against attacks from the world's unfortunate. Who will triumph in the resulting battle for family domination?
Dukakis ("Moonstruck") is always a joy to see digging into a role as idiosyncratic as this one but even she starts to look a little foolish as the storyline grows increasingly ridiculous in the second half. The other members of the ensemble suffer more grievously from the uneven script though Hedwell (NBCs "Law and Order") gets in some good licks as a hard-bitten public defender prone to shouting her opinions. Veteran character actor Edward Herrmann ("Richie Rich") gives delightful deadpan as Nora's morose priest brother.
Adapted from George F. Walker's stage play Max Mayer's well-meaning debut feature generates some amusingly unpredictable moments early on. But things go horribly wrong when Tom arrives with his scheme to remake the family as a disciplined home-defense unit. The idea of the characters building a barricade around their house isn't believable for a second - worse it isn't funny. Inhabiting an uncomfortable area between drama and black comedy the piece disintegrates into a series of embarrassingly ineffective episodes.