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?

Details

Written by Matthew Toomey

Created: 25 January 2001

In 1922, German director F. W. Murnau wanted to be one of the first to bring Bram Stoker's famous novel to a big screen but of course this is back in primitive days when movies didn't even have sound.  However, Bram Stoker's widow refused to grant the rights to Murnau.  Not to be deterred, he changed a few names and made the film anyway.  Shadow Of The Vampire is an interpretation of the events that led to the creation of Nosferatu.

In Berlin, Murnau assembled his cast and crew before travelling to Czechoslovakia for shooting.  Strangely missing from the introductions was Max Schreck, an unknown actor who was to play the lead role of Count Orlock (i.e. Dracula).  Murnau informed his crew that Schreck was already in Czechoslovakia preparing for his role.  To become more believable, he would be always be in character and would always wear his makeup.  Very strange indeed.

When production begins, things get even stranger.  The cinematographer is killed in unusual circumstances forcing Murnau to return to Germany to find another.  In his absence, another crew member is killed and questions are being asked.  Just what is going on?

Nosferatu is regarded by many as the greatest vampire film ever made despite its grainy quality and lack of sound.  Perhaps it was because people still believed in vampires back?  The Internet Movie Database has it listed in its top 250 films of all time as voted by the public - that says something.  Max Schreck's portrayal of Count Orlock is also considered the best of any screen vampire.  So good in fact, that it provided Shadow Of The Vampire screenwriter, Steven Katz, with the inspiration for this film.  Perhaps Max Schreck really was a vampire?

Shadow Of The Vampire is a hypnotic comedy/thriller that is difficult to describe.  It's bound to become a film seen by few but appreciated by all who had the chance - a cult film.  Willem Dafoe's performance as Schreck is the best by any supporting actor this year.  He is unrecognisable beneath his make-up and looks eerily similar to the real Max Schreck thanks to the help of artists Ann Buchanan and Katja Reinert.

It's one of the year’s finest and most inventive scripts and is given justice by director E. Elias Merhige.   Cinematic boundaries are being broken...

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: 18 January 2001

FedEx employee Chuck Noland’s (Hanks) life revolves around getting things done on time.  He's the guy that takes care of your package when "it absolutely, positively has to be there overnight".  It's a tough job travelling around the world especially when having to leave his long-term girlfriend Kelly (Hunt) behind.  Kelly understands the demands placed on Chuck by his job and the two cherish every moment they spend together.  Still, there just doesn't seem to be enough time.

Called out to Malaysia on Christmas night, Kelly drops Chuck to the airport under strict instructions that he's back to her by New Years Eve.  Exchanging presents in the car, Chuck gives Kelly a small box with the instruction not to open until the new year.  Chuck sets off to catch his flight jokingly saying "I'll be right back".

Deep into the flight, the plane encounters severe turbulence, losing radio contact.  Attempting to avoid the storm, the pilot changes course with little success and crashes into the Pacific.  By sheer chance, Chuck survives the impact and with the help of an inflatable raft is washed ashore on a small uninhabited island in the middle of nowhere.  There's no chance of a search party with the plane veering roughly 400km off its intended path.  The impossible has now become distinctly possible...

Tom Hanks has won two Oscars (Philadelphia, Forrest Gump) but he may be remembered most for this career-best performance in Cast Away.  From the moment he sets foot on the island, there's nothing more to watch than a silent Tom Hanks relying solely on actions and expressions.  The film was shot in two stages 12 months apart to allow Hanks to transform from a "beefy" FedEx employee to a "lean" wildman.  The time off allowed director Robert Zemeckis to make What Lies Beneath in between.

Speaking of Zemeckis, his direction is bold and original.  It's a tough ask to make a two and a half hour movie set in just one location with just one actor.  With little film score, you'll go much of the movie with only the soft sounds of the wind, rain and crashing waves.  I am curious to know how much was paid by FedEx and Wilson for the not-so-subtle advertising.

One can't overlook the effortless performance from Wilson the Volleyball.  A few tears will be shed over his fate and he can expect a flood of great scripts in the near future.  I feel the Academy will ignore his subtle performance but the Broadcast Film Critics have already rewarded him with best performance by an inanimate object.

Cast Away should be appreciated on many levels.  Hanks goes from being a man with no time to a man with nothing else but time.  What does he learn from it all?  Zemeckis leaves the question open to wide interpretation.  The ending is slightly drawn out but it will leave you something to think about.

Above anything else, this is a story of love.  Every moment he spends alone on the island, he longs for a way to get back to Kelly.  The audience may not relate to a man trying to survive on desolate island but they'll emotionally understand what's driving him.  That's what life is all about.  It's not what you make of it - but who you make it with.

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.