Details

Written by Matthew Toomey

Created: 01 February 2001

Jack's brother was killed in a drink driving incident and so he has travelled from Las Vegas to Seattle for the funeral.  He hadn't seen his brother or his wife Gloria (Richardson) and daughter Doreen (Cook) is almost five years.  Jack is suspicious of his brother's death and some light investigation confirms those thoughts.  Everyone just wants Jack to go back home but he's determined to get to the bottom of things and of course, you know he's going to.

The suspects are established early.  There's multi-millionaire Jeremy Kinnear (Cumming) whose computer wheelings and dealings have drawn attention.  There's nightclub owner Cyrus Paice (Rourke) who has established himself as a porn entrepreneur.  There's his brother’s boss Cliff Brumby (Caine) who knows something but isn't showing his cards just yet.  Finally, there's the mysterious Geraldine (Rhona Mitra) who attends the funeral and when confronted becomes defensive.

The film has promise and one cannot criticise the cast.  Rourke, Caine and Richardson and all great and Sylvester Stallone delivers a performance similar to the quiet style we witnessed in Copland.  In fact, much of the film reminded me of Copland with a dash of Mel Gibson's Payback thrown in.

The screenplay frustrates and from the expressions of those in the cinema I attended, others share this viewpoint.  The film begins encouragingly but mid-way through it starts slipping and the final stretch is a bore.  When all the secrets are finally revealed, it felt like a bad episode of Walker: Texas Ranger.

Overdrawn and repetitive is an apt description of director Stephen T. Kay’s direction and Jerry Greenberg’s editing.   In Get Carter, Stallone makes a valiant effort to break away from the action genre but this film will not be remembered.  Be forewarned that the film contains a high level of violence and some would be advised to stay at home.  In fact, I'd advise most to stay at home anyway.

Details

Written by Matthew Toomey

Created: 25 January 2001

Tell me if you've heard this one before.  Cage plays Jack Campbell, a millionaire working on Wall Street and ready to close another big deal.  He has a great car, great apartment, great job - he has everything he always thought he wanted.  Then out of the blue on Christmas Eve, Jack gets message from his secretary that Kate Reynolds (Leoni) phoned while he was out.  The two nearly married 13 years ago but their jobs kept them distanced and Jack decided to break things off.

Should he call her again after all this time?  His boss doesn't seem to think so - past relationships and like past tax returns, you hang on to them for three years and then get rid of them.  His secretary presents the opposite point of view - surely there must be a reason why she'd call so suddenly and unexpectedly?

Jack decides against calling and on his way home meets an interesting guy named Cash (Cheadle).  Jack thinks he has it all and there's nothing else he needs but Cash says he'll live to regret that comment.  Sure enough, when he awakes on Christmas Day, Jack finds he's not in the same bed and he's not even in the same house.  He is living the life he would have lived if he had married Kate 13 years ago.

Such films are becoming commonplace (Sliding Doors, Me Myself I) but one can see the inspiration for The Family Man coming from the brilliant 1939 classic, It's A Wonderful Life.  The fact that the film is centred on Christmas Eve is a dead giveaway. 

I know these films are make-believe fun but it’s just too much of a stretch to enjoy.  We go through the same old routine.  Jack wakes up and goes through the whole "I can't believe it" dramas.  Then, he fumbles his way through the next half-hour somehow managing to make his way through life despite the fact he knows nothing about it.  Finally, he comes to the realisation that this life is better before returning to his own world as a changed individual.  Just why are we being force-fed simplified stories with few surprises?  The whole "rich guy rediscovers the importance of life" movie is very, very tired.

Unlike past disappointments, Cage delivers a strong performance but Tea Leoni is the standout.  She is a fine actress but has been missing from the big screen for some time.  Since 1996's great sleeper, Flirting With Disaster, she has appeared in just one film - Deep Impact.

Director Brett Ratner (Money Talks, Rush Hour) also showed skill in helping rescue the screenplay with favourable direction.  The film is constantly moving and whilst you always know where it's heading, he tries to keep it interesting.  I was also struck by the creative camera angles and it came as no surprise to see dual Academy Award nominated cinematographer Dante Spinotti (The Insider, L.A. Confidential) behind the lens.

The cast and crew have saved The Family Man from following many recent "what if" films into oblivion.  We always ask ourselves just what would happen if we did this, or this, or even this.  I wonder what would have happened if I didn't watch The Family Man and instead stayed home and watched Jack & Jill.  In hindsight, Jack & Jill may have been more interesting.  But who cares?  My point exactly.

Details

Written by Matthew Toomey

Created: 26 January 2001

The plan is in trouble early with another party beating Ray to the lease.  It happens that an old friend from jail, Benny (Lovitz), wanted the lease so he could burn the place down and claim the insurance.  As Ray explains to Benny, you can’t keep making a living from petty insurance scams and offers him a share in the bank heist in return for the lease.

Ray, Denny, Tommy and Benny are not the brightest criminals and everything goes wrong.  Yet the biggest surprise comes from Frenchy whose cookies become a city-wide success story resulting in massive exposure for the store - not exactly the ideal cover.

Every year I look forward to the new Woody Allen movie and as always, I was not disappointed.  Allen has his own style of intelligent comedy that other filmmakers don’t have the guts to attempt.  Studios have been following the recent trend of “gross-out” comedies that are humorous to an extent but familiarity breeds contempt.  There were so many scenes during Small Time Crooks where I had to laugh out loud at its originality.  The film takes a different path midway through but it only provides even more material for Allen to work with.

Tracey Ullman is fantastic as the wife as is Elaine May as a friend and employee of the store.  The male leads are underwhelming but as is tradition with Allen, the females take centre billing.  It’s nice to see an experienced cast working really well together.  Allen’s films often don’t appeal to a wide audience but Small Time Crooks will suit most.

Details

Written by Matthew Toomey

Created: 25 January 2001

T.C. Williams High already has a successful coach - the soon-to-be Hall of Fame inductee Bill Yoast (Patton).  To help smooth the transition, higher powers have hired a new African-American coach in Herman Boone (Washington).  Given the intense racial climate, the citizens of Alexandria are divided over Boone's appointment and Yoast has decided he can't work under him and looks elsewhere for employment.  However, Yoast is informed by the school board that Boone's appointment is merely a "token gesture" and as soon as the team starts losing, he will be sacked and Yoast reinstated.

It's always going to be a losing battle for Boone but he has fight and puts up a damn good one.  From the two week introductory camp, he slowly wins the support of the team, the community and most importantly, Coach Yoast.  Together they produced a team that would do more than just win football games, they would unite the people.

Sporting movies are becoming a regular event with many focusing on American football.  In the past two years we've seen Any Given Sunday, The Replacements and a favourite of mine, Varsity Blues.  Can I add that the film setting my personal and very high benchmark is 1993's Rudy.

The reason such movies are so popular is that people love seeing the underdog get up - anyone remember Rocky?  The problem with Remember The Titans is that every scene is formulaic.  Just when things start to look up, another obstacle is thrown in their path but of course everything is wrapped up with a nice neat bow in the end.

Don't let me mislead you, I did enjoy the film and I was rooting for the team every time it had a great win but that doesn't necessarily make it a good movie.  I cheer every time I'm at the AFL but that doesn't make every game a good game.  In the back of mind, I know I've seen these characters and storylines so many times before.

The opening credits show Jerry Bruckheimer is a producer.  Why is this important?  Well, Bruckheimer's other credits include Coyote Ugly, Gone In 60 Seconds, Armageddon, Con Air, The Rock, Crimson Tide, Bad Boys, Top Gun and Beverly Hills Cop.  It's a list I'd be proud of but they're all just fun, predictable, popcorn movies made in the same style.  With Remember The Titans made in a similar vein, you can understand the tired sense of deja vu I felt.

Aside from the script and an overbearing score from Trevor Rabin, there are positives to speak of.  Denzel Washington is always passionate about his work and delivers another fine performance (following his Oscar nominated turn in The Hurricane).  Will Patton relishes his supporting role and often steals the spotlight from Washington because his character is more interesting.

I have to single out one great moment that left me startled.  Several years ago, Roger Ebert wrote an article in his Chicago Sun Times column commenting how a cinemagoer can foresee every screen kiss just before it actually happens.  It was a valid point and a question worth thinking about for yourself.  There was one kiss in Remember The Titans that amazingly caught both myself and the audience off guard (given their loud reaction).  It was the only surprise I found in the film but given recent Bruckheimer productions, it was one more than I expected and even Roger Ebert would be proud.

Details

Written by Matthew Toomey

Created: 25 January 2001

Enter Hurley as the Princess of Darkness.  In return for Elliot's soul, she promises seven wishes to help him become the person he's always wanted to be.  Of course, when you're dealing with the devil and the contract is thicker than the dictionary, Elliot’s going to be on the lesser end of the transaction.

It's a simple yet apt description.  Following the customary introduction, the story follows the fate of Elliot's seven wishes from which he will learn a valuable lesson.  There’s not much of a conclusion either but we don't usually go to silly comedies to take something away - we go to have fun.

The most likeable aspects of the Bedazzled are the performances of both Fraser and Hurley.  Fraser shows a large range in one of his best roles to date.  Hurley has a flood of great lines and combined, the two make a wickedly exciting pair.  Australian Frances O'Connor (Mansfield Park) is wonderful in her role as Alison and features strongly in much of the film.

A good opening title sequence is always a trigger for a good film and make sure you’re not late to miss the opening of Bedazzled.  The opening credits set the tone for the film and if used well, can capture the audience's attention from the very beginning.  Once you see the film you'll know what I mean but in this instance, I found them really inventive.

Whilst I’m not overly excited with Bedazzled, it certainly had its moments and is level with my benchmark for the genre.  It baffles me though why studios are increasing the number of remakes - are we that low on ideas?