Details

Written by Matthew Toomey

Created: 03 February 2000

Adele wants to find a dream job, a dream house and have her daughter become a dream actress.  Ann is a contrast - she enjoyed her life in Bay City, she didn’t want to leave her family and friends, and had no thoughts of becoming an actress but such is the bond between a mother and daughter, she reluctantly follows.

This is a tear-jerking drama with a lot of heart but at times becomes bogged down when the story deepens.  Controversy surrounded the film when Portman originally turned down the role after the script required a sex scene and Sarandon followed suit quoting he would only do the film with Portman.  Based on the finished product, it’s easy to see why both wanted to work together - they bring out the best in each other.

A lot of the younger audience with feel a repore with Ann.  Sarandon beautifully captures the role as the overbearing mother who only wants the best for her daughter but can’t give her the freedom she yearns for.

Based upon the book by Mona Simpson, Anywhere But Here’s main flaw is that it plays out too much like a novel.  As each subplot unfolds, it seems all too coincidental and predictable leaving a finished product that is unsurprising.  Just what was the point of it all?

As time passes, this film will be remembered as the time the two great actresses, Oscar winner Susan Sarandon and future Oscar winner Natalie Portman, starred together.  It’s a shame the two couldn’t find a more productive script to support their talent.

Details

Written by Matthew Toomey

Created: 26 January 2000

In 1993, scientist Jeffrey Wigand was fired from his $300,000 a year job at Brown & Williamson (a U.S. Tobacco company) for “communication problems”.  He was left with a mediocre severance package and signed a confidentiality agreement agreeing never to divulge to any party the work he performed there.  At the same time, Lowell Bergman was a producer at 60 Minutes with 14 years experience.  He was renowned as the best at finding a story and had a reputation as a “man of his word”.

While researching a story on fire-related accidents in February 1994, Bergman came across some complex documents that would require interpretation and by sheer chance, Wigand was recommended.  He was to be paid $10,000 for a few days work but Bergman sensed Wigand was hiding something and thus the biggest news story in the history of 60 Minutes began.

Michael Mann has created a near flawless work in The Insider.  No stone was left unturned.  He researched the project for over three years and what you see is perhaps the most accurate portrayal of real events ever seen on the big screen.  His own house is lined with folders full of reports, articles and interviews he himself conducted.  In tackling an issue this serious and significant, Mann wanted to ensure his film would not be discredited and that the real truth be told.

The wide cast is led by Al Pacino and Russell Crowe (as Bergman and Wigand) and you will go far to see two finer performances.  Combined with Christopher Plummer’s (as 60 Minutes anchorman Mike Wallace) blistering portrayal, they take this film to a new level.  There isn’t a single character throughout the film that isn’t believable - it really is the casting job of the year.

Mann’s direction is spot on - it’s tough, it’s gritty, it’s in your face - right to the poignant final scene.  Australian composer Lisa Gerrard’s score blends well and is easy to miss it’s that perfect.  Filled with wonderful, unforgettable moments and brilliant lines (e.g. “Alice In Wonderland”), you will not leave without taking something away.  It took a while to get going and sure it could have been shorter but Mann wanted to set the scene and yes, it was effective.

In essence, this film is not about the dangers of tobacco smoking but rather the power corporate giants have over the media and us.  People don’t run the world - corporations do.  The Insider was a story that had to be told and upon reflection, couldn’t have been told much better.

Details

Written by Matthew Toomey

Created: 03 February 2000

Dogma does not fall under the above description despite the attacks many Catholic leaders have launched on the film.  Dumped by Disney as being too hot to handle, it premiered at Cannes and was eventually released worldwide by Lions Gate Films.

As the comedic opening disclaimer reveals, Dogma is a satire on the Catholic faith and should not be taken serious although it does make several valid points.  It is the story of two fallen angels, Loki (Matt Damon) who at one time lived happily in heaven as the Angel of Death.  Lured by friend Bartleby (Ben Affleck), he disobeyed God’s orders and broke from his angelic status and together they were kicked out of heaven, banished forever.

Thousands of years later, a loophole has provided them with an opportunity to return home.  A special door at a Church celebrating its 100th anniversary, will forgive the sins of those who pass through it and once they do, they can die and go straight back to heaven.

Sent to stop our duo is God’s interpreter Metatron (Rickman) who appears in an unusual vision to Bethany (Fiorentino) and instructs her to get to this Church in New Jersey and stop them from entering.  To help her in her quest she is given two “prophets”, Jay and Silent Bob and along the way catches up with the 13th apostle (Rock) and a stripper/muse (Hayek).  So just how are they going to stop Loki and Bartleby?

Kevin Smith is becoming a very successful cult director.  Following the brilliant Clerks with the mediocre Mall Rats and then the compelling Chasing Amy,  Smith has brought back many of his past cast members (as well as Jay and Silent Bob) for this his fourth feature and it works against the film.  The script has wit but the cast doesn’t do it justice, in particular Jason Lee, Salma Hayek and Alan Rickman.  A better casting job would have made Dogma a better view.  To name two cast members who did make a worthwhile contribution - Fiorentino and Damon were spot-on.

The comedic look at religion is not an issue but the source material is not used to its full potential.  There are a few laughs and top one-liners, but too much room in between and that is its downfall - if you’re going to make a comedy with such sensitive material, you’d better make it damn funny!

Bound to please many of Kevin Smith’s followers, Dogma was a bold project that devoted Catholics should probably avoid (for fear of going to confession).  For others, go along for the ride but don’t expect to get total “enlightenment”.

Details

Written by Matthew Toomey

Created: 23 January 2000

Set in a crazy, futuristic sci-fi world, we meet Captain Amazing (Kinnear) who as a super-hero has conquered all the villains of Champion City and has no one left to defeat.  Worried about losing his celebrity status and sponsorships, he helps plead the release from prison of his all time great nemesis, Casanova Frankenstein (Rush), so he can take on and defeat him again.

Casanova has an ace up his sleeve however and captures the amazing Captain leaving the city helpless.  Enter the B-grade heroes who have come to save the day.  Sick of living in the shadow of Captain America, this is their chance to rescue him and save the city.

Introducing - the Blue Raja (Azaria), the Shovelor (Macy), Mr. Furious (Stiller), the Bowler (Garofalo), the Spleen (Paul Reubens), Invisible Boy (Kel Mitchell) and the “quotable” Sphinx (Wes Studi).  All with their special secret power, their inspiration came from the Dark Horse comic books.

Mystery Men is a satirical look at super heroes that isn’t very good.  For every great moment (such as the recruitment scene), there’s an uninspired scene that takes a bad joke and stretches it further.

The cast works in a similar vein - all have their moments, but in the end no one stands out.  If any must be praised, Aussie Geoffrey Rush and Janeane Garofalo get my approval.

Austin Powers has done it twice previous and much better I might add, leaving Mystery Men as an overly long film that makes you yearn for these heroes to meet a sickly demise.

Details

Written by Matthew Toomey

Created: 26 January 2000

Lester Burnham (Spacey) sees his life fading away.  Any respect his wife Carolyn (Bening) had for him is gone and he’s hardly spoken to Jane (Birch), his teenage daughter, in months.  For 14 years he has worked as a magazine writer under the facade that he actually enjoys what he does.

To help promote their “parenting image”, Carolyn drags Lester along to a basketball game to see Jane perform as a school cheerleader (although he’d rather be home watching a James Bond marathon on TNT).  Lester’s life is about to change.  Introduced to Jane’s best friend, Angela (Suvari), he finds himself uncontrollably attracted to her and stirs feelings inside him he thought were long buried.

To impress the object of his infatuation, Lester begins working out and starts living a more active life - as he says, “I have nothing to lose”.  His rejuvenation sets off a chain of coincidences and unusual events that will eventually lead to his demise, but by film’s end, he is ready for what awaits...

To give anymore away of this beautiful film would be unforgivable.  Not in such a long time have such deeply complicated people been created.  99% of movies these days feature stereotypical characters bearing little resemblance to any “real” human being.  American Beauty has seven leading roles that are all as unique and special as the people that surround us each day.  As the film progresses, we learn a little more about each one but every character is open to a wide interpretation and I’m sure there will be several you’ll relate to.

Kevin Spacey and Annette Bening are marvellous as the sedated couple whose relationship unfolds as Lester transforms.  Rising stars Thora Birch and Mena Suvari are troubled teens, each trying to find their place in this world.  Chris Cooper is the strict next-door neighbour with his wife, played by Allison Janney, nothing but a ball of mystery.

The character stealing the spotlight is Jane’s boyfriend Ricky, played by Wes Bentley (in his first starring role).  His flawless performance makes his character very intriguing.  He provides the film’s signature line when saying “sometimes there’s so much beauty in the world, I feel like I can’t take it.” – a line that best encapsulates what American Beauty is trying to say.

Executive producer, Steven Spielberg, came across first-time director Sam Mendes on Broadway and it’s a true delight to see a newcomer bring fresh insight onto the screen.  His powerful use of long-shots fading into close ups, dream sequences blending into reality, and most importantly his ability to keep the audience of their toes with carefully revealed plot twists, makes him a certain Oscar contender and solidifies a big future.  A stunningly different score from composer Thomas Newman deserves recognition.

From the very start we know Lester will die but American Beauty is not about where you end up but rather the journey you take to get there.  With remarkable direction, writing and acting there’s a lot of cinematic “beauty” on full display.  American Beauty - a comedy that pulls no strings and goes straight for the heart.