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Written by Matthew Toomey

Created: 13 February 2003

Warren Schmidt (Nicholson) is 66 years old.  He’s been married to wife Helen (Squibb) for 42 years.  He has one daughter, Jeannie (Davis), who’s moved away and now engaged to Randall (Mulroney), a mattress salesman who invests in pyramid schemes.  All his life Warren’s worked at the same insurance company and has just closed this chapter of his life with a quaint retirement party.

Instantly, Warren starts suffering withdrawal symptoms from being away from work.   He has too much free time and not enough to do with it - it’s somewhat of a late-life crisis.  The routine he’d developed over time has been suddenly broken and he’s very uncomfortable with the situation.  His wife has convinced him to buy a luxury camper van so they can travel across the country visiting heaps of places and do things together.  Warren’s not exactly thrilled.

An unexpected event will soon throw Warren’s plans out the window.  He’ll begin a new journey of self-discovery that will involve members of his current family, members of his future family, and members of a long distant “foster” family.  They will all play their part in answering Warren’s question whether he has used his life to make a difference - a question he finds the need to have answered.

People are sick and tired of my ravings for a low-profile 1999 release called Election.  Despite near-unanimous critical acclaim, the Matthew Broderick / Reese Witherspoon film struggled commercially.  Few saw the black comedy and many that did, failed to appreciate the many small nuances that made it so great.  About Schmidt is from the same writing/directing team that made Election, Alexander Payne and Jim Taylor.

Both deserve recognition and the Hollywood Foreign Press provided that a few weeks ago when their script for About Schmidt won the best screenplay award.  It won’t be the only time they’re honoured because this film has a deeply layered story that like Election, balances the genres of comedy and drama without swinging either way.  I expect older generations to relate most to Warren’s story but there’s ample material (with emphasis on Jeannie’s wedding) to give everyone food-for-thought.

Himself in his later years, Jack Nicholson lets his sarcastically depressed expression epitomise this role.  He says very little (apart from voice-overs) but there’s no need to.  With the bunch of quality roles he’s received of late, there’s no need for Nicholson to consider retirement despite his age of 65.  The most surprising “appearance” comes from the 54-year-old Kathy Bates, who as Warren’s future mother-in-law, reveals a lot more than you would expect in an hilariously crazy scene late in the film.

As a minor criticism, the film did drift off the road at times.  I’d have preferred to see a shorter introduction and more time spent with Randall’s family and their wedding preparations but I can understand the filmmakers’ willingness to focus on Warren rather than the supporting cast - as the title itself says, it is about Schmidt.  In all, it’s a touching journey that will leave some audience members quietly giggling and others deeply contemplating.  Another quality addition to the Oscar season.

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Written by Matthew Toomey

Created: 06 February 2003

There’s a kind of urban legend that every even numbered movie in the saga has been great and every odd numbered movie has been disappointing.  Up until now, I had no reason to doubt this theory as I immensely enjoyed the 8th film, Star Trek: First Contact but was bored to tears by the 9th film, Star Trek: Insurrection.  Curiously, Star Trek: Nemesis was the original title of the 9th film before it was changed to Insurrection.  I guess they thought it was a pretty cool title.

In Nemesis, the crew of the Enterprise head to a planet of Romulus to deal with the hostile Romulans.  Apparently, they are pretty evil dudes but have suddenly become all nice and stuff.  The Earth isn’t too believing of this reversal in hospitality and the Enterprise is asked to investigate.  There they meet their new leader, Shinzon (Hardy), who reveals some shocking news.  Shinzon is a younger clone of Captain Picard (Stewart) and was created for evil doings.  He also has some nasty weaponry which can destroy people instantaneously so he must be stopped at all cost.

And on we go.  There’s all the fancy techno dialogue which is uttered solely for those Star Trek fans in the audience.  I had no idea.  We all know the bad guys will be destroyed but unfortunately, the cast and crew haven’t created much excitement in the lead up.  There’s the same familiar faces and a small cameo from Whoopi Goldberg, which served no purpose.  Perhaps she just wandered onto the set by accident and director Stuart Baird failed to say cut.  Who knows?

The film’s poster and trailer say “a generation’s final journey... begins”.  Does this mean this is the last in the long running series?  I’m not 100% sure but I doubt it.  There were plenty of people in my theatre so I can see the journey going on and on and on...

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Written by Matthew Toomey

Created: 13 February 2003

When adapting a biography onto the big screen, it’s easy to over-elaborate and turn an ordinary story into something (unbelievably) extraordinary.  Catch Me If You Can doesn’t fall victim to this Hollywood trick because, well, the story really is extraordinary.

Between the age of 16 and 21, Frank W. Abagnale Jr (played in the film by DiCaprio) lived a rather incredible fantasy.  Back in the technology-lacking 1960s, banks were ripe to be taken advantage of and Frank did just that.  He tried to cash fraudulent cheques but bank staff saw right through him – he was just a kid after all.  Not easily deterred, Frank learned that appearances can be everything.  Through a cunning con, he got his hands on a pilot’s uniform and from here on in, the banks didn’t blink an eyelid.  As if a pilot would ever cash dodgy cheques?

Continuing his pilot charade, Frank learned he could get free air travel.  Soon he was flying all over the country cashing cheques and by the time the banks learned of their error, he was long gone.  This wasn’t the only scam Frank ingeniously came up with.  He posed as a lecturer at a university for a summer semester, a doctor in a children’s hospital for almost a year, and even a lawyer for a short period after passing the bar exam.

Frank’s light-hearted adventures weren’t quite as funny down at the FBI.  Led by Carl Hanratty, a huge search had begun to identify and arrest Frank Abagnale Jr and it would eventually extend overseas.  In all, Abagnale cashed $2.5m worth of fraudulent cheques in a total of 26 different countries.  A remarkable con for a 21-year-old.

The film marks the return of the real Leonardo DiCaprio to the big screen.  As the defining actor of his generation, it’s awesome to see Leo in a role requiring his full use of his repertoire.  A beefier Tom Hanks brings surprising depth to an otherwise standard supporting role as Hanratty.  His character features very little in Abagnale’s autobiography but the part was expanded in the screenplay to strengthen the resolve of the FBI’s pursuit.  At times, I felt the Hanratty character was better developed than Abagnale’s which is a tribute to Hanks and perhaps a detriment to the screenwriter.  Hanratty’s “knock knock” joke is just one numerous scene stealers.

It was a very quick shoot for Steven Spielberg who managed to complete the film in only a few months.  It’s reflected in the film’s brisk pace and set up by a wonderful opening credit sequence backed by another on-the-mark score from composer John Williams.  After a wonderful introduction to our cast, the film suffers in the final hour by becoming more of a fact-telling exercise than a motion picture.  Frank’s motives seem lost and his final misadventures are sandwiched together and to those who haven’t read the book, might seem hard to believe given the lack of time spent explaining them.  Following 135 minutes of fun, the final 15 changes path by trying to spoon feed us a moralistic conclusion that wraps everything up into a nice little package.  It’s a complete waste.

Catch Me If You Can is the first major release of the calendar year in Australia and sure to be an overwhelming crowd pleaser.  I enjoyed the film but the sexy trailer, the lure of Spielberg-DiCaprio-Hanks, and the novel itself had me hoping for something a little better.

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Written by Matthew Toomey

Created: 30 January 2003

Fenton Meiks (McConaughey) is sitting and waiting for Agent Wesley Doyle (Boothe).  The two have never met but Adam has some important information to share - he knows who’s responsible for a recent spate of local killings.  It’s Fenton’s own brother, Adam.  Exactly why is Fenton dobbing in his own brother?  Well it’s a long story and he’s about to explain it all to Agent Doyle.

Not yet a teenager, Fenton (O’Leary), his younger brother Adam (Sumpter), and their father (Paxton) lived a standard existence.  Until one morning, the dad awoke with a compelling story to tell.  He had been visited by an angel sent by God.  The angel told him that he had been chosen to destroy “demons” and would soon be given a list of names of people, posing as demons, who needed to be killed.

The influential Adam had no qualms believing his father’s tale but the wiser Fenton did not believe a word.  He feared his father was losing his mind and hoped this fantasy would quickly dissipate.  Not so.  Dad suddenly had a list of seven names and Fenton was soon witness to bloody slayings in their back shed and being forced to dig graves to hide the bodies.

The horror didn’t end.  Fenton was told not to tell anyone or something terrible would happen to the family.  He considered running away but couldn’t leave his brother behind.  He was trapped and his dad was tiring of his reluctance to believe in God’s wishes.  Something had to happen... and it did.  If you put the pieces together, you’ll think you know how this reflection relates to the current situation with Agent Doyle.  But you’d be wrong...

I hadn’t heard of the film prior to last week but Bill Paxton, in his directorial debut, has a dynamite screenplay to work from.  It’s very disturbing and the religious undertone increases the unsettling tension.  Paxton doesn’t shy away from the film’s troubling moments - the killing scenes are particularly gruesome and there’s some upsetting moments that the young Fenton is forced to endure.  His style certainly kept my attention and credit to Paxton, although I’ll admit the direction was a bit rough around the edges.

Paxton also delivers a strong performance.  Matthew McConaughey shares top billing but has a minor role compared with the other cast members.  This was 15-year-old Matthew O’Leary’s first film (as noted in the credits) despite it being the third film I’ve seen him in.  How so?  Well the film is two years old and in the time since, O’Leary’s exposure has seen him feature in Domestic Disturbance and Spy Kids 2.

But the real star is the script and another newcomer, Brent Hanley receives credit for it.  I’m not convinced the rationale is there but it’s still absorbing.  Hanley already has a few other screenplays in the works and I’ll keep one eye open in anticipation of their release.  While we’re all waiting, the opportunity has arrived to see Frailty and with it, an agitatingly creepy thriller.  Believe at your own peril.

Details

Written by Matthew Toomey

Created: 07 February 2003

As the Autumn leaves fall in this beautiful Connecticut community, Cathy Whitaker (Moore) continues to live her dream life.  She’s married to Frank Whitaker (Quaid), a highly respected and very successful salesman.  They have two studious children - David, who loves playing junior football, and Janice, who loves learning ballet.  Together, they live in a spacious, well-furbished home with a devoted maid and a regular gardener to tend to the beautiful gardens.  A reporter has just written a glowing article on Mrs. Whitaker in the local social magazine to make public to all, the great qualities she exudes as a person.

With everything in place, writer/director Todd Haynes then proceeds to show the simplicity in which society can destroy a perfect family.  Cathy, being the devoted wife, drives into town to deliver her hardworking husband a warm dinner.  Instead, she finds him passionately kissing another man.  In an era where homosexuality was deeply repressed, Cathy and Frank go to a doctor where he can begin treatment to cure this disease.  All was kept secret to protect Frank’s reputation but for Cathy, the revelation was setting in and there was no where for her to turn.  The marriage she had poured her soul into, was a facade.

At the same time, a new African-American gardener had began servicing the home.  The previous gardener had passed away and his son, Raymond Deagon (Haysbert), had taken responsibility for the family business.  Against the community’s general consensus, Cathy was a softly-spoken advocate of the rights of “coloured people” and had no qualms taking the time to talk with Raymond.  She learns he has an 11-year-old daughter and a college education.  He’s a decent, intelligent man and the two find comfort in each other’s conversations.

By chance, they run into each other at an art exhibition.  As they jointly look over the artworks, those around them focus their attention on the obscene sight of a black and white person fraternising together.  Soon, the whole community is spreading rumours of their friendship and speculating how deeply it runs.  The gossip builds and Cathy finds herself ostracised by all.  Frank too is furious.  Cathy’s life has disintegrated through no fault of her own.

Ultimately, it’s a very sad story told with brutal realism.  There are no shock twists, no quirky side characters, no anything else coming from commercialised Hollywood.  We watch the pressure mount on Cathy as she battles, with no one else to turn to, to keep her dream afloat.  Writer/director Todd Haynes (Velvet Goldmine) uses the repression of two minority groups (homosexuals and African-Americans) to contrast the differing levels of discrimination.  Cathy is unafraid to hide her equal feeling for coloured people and is persecuted for it, even by her own husband.  However, Frank keeps hidden his feelings on homosexuality and in doing so, keeps the respect of others.

Director Todd Haynes has created a film that not only is set in 1957 but also looks as if it was filmed in 1957.  The setting, the costumes, the acting are all spot-on in their depiction of the era.  Julianne Moore is wonderful as her character struggles to hold her composure.  Cinematographer Edward Lachman (The Virgin Suicides, Erin Brokovich) captures the colours and elements of the time with amazing beauty.  Haynes doesn’t rush the story nor does he let his characters overact.  It’s his own personal tribute to his favourite films of the era.  Such is rarely seen these days.