hartig's Reviews

The Big Lebowski (1998)

10/10

3 September 2002

The Brothers Coen might be the only filmmakers in the world who could put out a comedy caper about a middle-aged unemployed stoner, his war-obsessed best friend, a paraplegic millionaire, his feminist sister, soiled rugs, an eccentric pornographer, a gang of 3 German nihilists late of a techno-rock band, and a trophy wife moonlighting as a porn actress and actually make it work.

Bridges, Goodman, and Buscemi are as great as would be expected. Kudos also to the terrific Swedish actor Peter Stormare in his 2nd go-round with Joel and Ethan Coen. His screen time is minimal but memorable.

As others have mentioned, be sure to give TBL at least 2 viewings before passing judgment on it. I saw it for the first time when it first came out. I found it to be only average at the time. Years later, a friend was howling about some of the great dialogue and urged me to give it another chance. I'm glad that he did.

The plot is certainly contrived. But it's a character and dialogue driven comedy. TBL may be the most quotable film of the last 10 years, if not of all time. The writing, cinematography, soundtrack, acting, and direction are all perfectly executed.

RATING: 10/10. Definitely not to be missed or seen only once.

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The Majestic (2001)

9/10

A little bit uneven...

26 December 2001

This film seemed to get a little bit confused at times. Was it merely telling a compelling story about an amnesic blacklisted screenwriter assuming the life of a fallen war hero? Or was it more of a political film condemning McCarthyism and witchhunts and championing the first amendment? And what does the plot really have to do with the theme? Anything?

I love Frank Darabont as a director. I think he should direct more films because he does such an amazing job presenting early-to-mid 20th century periods and characters. I think all 3 of his major films (The Shawshank Redemption and The Green Mile before this one) are aesthetically beautiful and entertaining. He cut his teeth as a screenwriter and probably felt somewhat obligated to pay homage to his wronged predecessors by taking on this project. I really wish he would have involved himself in the script more, though.

Jim Carrey does a fine job portraying Peter Appleton, the blacklisted screenwriter who loses his memory and finds himself in a town who mistakes him for somebody else. And I think it's a film worth watching...I really did enjoy it. But I'm sure the studio saw this as an Oscar contender and it just isn't solid enough to be there. There just wasn't much cohesion in the story and I'm sad to see a Darabont-directed film suffer from that.

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The Man Who Wasn't There (2001)

8/10

Falls just short.

19 November 2001

As somebody who is generally a huge fan of Coen films (The Big Lebowski, O Brother, and Miller's Crossing are my personal favorites), I have to admit being disappointed with "The Man Who Wasn't There." Maybe I was expecting too much after all the raves I'd heard. Granted, I'm not much of a fan of classic film noir. So, perhaps my disappointment stems more from personal taste than flaws in the film itself. Whatever the reason, I left the theater a little unsatisfied.

The blackmail-scheme-gone-very-wrong storyline is perhaps the best one the Coens have ever produced. This puts the film in stark contrast with their previous project "O Brother, Where Art Thou?" in which I thought the only weakness was related to story. However, what "O Brother" lacked in plot strength, it more than made up for in such things as music, dialogue, humor, and general fun. "The Man Who Wasn't There" is about the farthest thing you can get from fun this side of a root canal.

As I'm sure you've heard, the film is excruciatingly slow-moving. I've had fellow Coen Brothers buffs tell me that this is part of its character and is in keeping with the pace of the character it studies. I'm not sure I buy that, though. While I certainly enjoy evaluating films for their artistic integrity and ingenuity, I'm also seeking to be entertained at the cinema. This film wasn't very entertaining and probably won't be very popular with most people outside of arthouse enthusiasts or hardcore Coen fans. In fact, I went with my girlfriend, her sister, and her sister's boyfriend (none of whom are anointed Coen fans as I am) and they were all visibly bored.

I think the film could be improved by a quicker pace. After all, the plot is very compelling and certainly kept my attention. But watching "The Man Who Wasn't There" is about like reading an Ayn Rand novel: The story and underlying message are great....but do the creators need to make it such a chore to come about them?

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Dancer in the Dark (2000)

10/10

Ups and and one particular down.

11 August 2001

Warning: Spoilers

**SPOILERS**

"Dancer in the Dark" is the kind of film that can reach into your chest, rip out your heart, twist it in 100 different directions, and unceremoniously stick it back in - leaving you wondering what in the world just happened. Icelandic alternative singer Björk plays Selma, a shy, single, working class, (eventually) blind woman struggling to raise a young son by working in a factory and making cards. The singer demonstrates a spectacular amount a depth and empathy with her character. Her very real performance along with the unstable, camcorderesque camerawork made me forget several times that I was actually watching a work of fiction. However, I have seen blind characters played much more convincingly than this.

The film is a musical. It's like no other musical you've ever seen. One of the storylines focuses on a local simpleton's crush on Selma (who spends her free time singing, dancing, and acting in local musical productions). In one scene, they are discussing musicals and how they are always so cheerful and fun. The obvious irony of this was that this macabre musical was nothing but. "Dancer in the Dark" is to the musical genre what films like "Fargo" and "Misery" are to the comedy genre. Imagine the most depressing and gloomy episode of "Cop Rock" and you'll have a good idea.

Selma is as single-minded a character as has ever graced the silver screen. Everything she does is seemingly done only to fulfill a single covenant: to ensure that her young son Glen will not suffer from the same blinding disease that is taking her eyesight. A native of Czechoslovakia, she emigrated to the United States only because a surgery was available to cure this hereditary ailment. Selma's solitary devotion to Glen is very touching and inspiring. Her world is crumbling around her and, still, her only concern is the lifelong welfare of her son.

However, I had only a single problem with the film and that problem is all that kept me from a perfect 10 rating. Selma is a daydreamer who constantly makes mistakes at work and in her plays because her mind is lost in music - music we hear and see performed along with her daydream. The music - often presented in the most trying and depressing scenes - is, ironically, very cheerful and happy. The people surrounding her at the time of her daydream - be they in a courtroom or in the factory - join in her song and dance number as co-stars. It's a very unique, but odd, presentation of music.

When I was told of this particular aspect of the film before seeing it, I felt it might really make for interesting cinema. It certainly accomplishes that. It also accomplishes making the viewer sympathetic with - even a party to - Selma's daydreaming and innocent-as-a-bird nature. However, eventually the musical interludes became a tad overbearing and got in the way of what otherwise was a monumental little film. I have talked with others who strenuously disagree with me on this. So, if nothing else, the strange insertions of 'shiny, happy people' music during, for instance, Selma's final steps to the gallows make for interesting post-viewing conversation. The music does succeed in taking the edge off our sympathy for Selma - since she's so happy singing and dancing during life's most trying times, shouldn't we be happy too? I've never experience a divergence of emotion as much as I did towards the end of this film.

"Dancer" qualifies as one of the most unique pieces of filmmaking art I've ever seen. This film is definitely not something a serious filmgoer should miss. I'll warn you that the story is disturbing almost to a nauseous degree. And the camera style and musical interludes will surely turn off many viewers. However, its unique spirit and atmosphere made for a rewarding and, oddly, uplifting experience for me.

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Finding Forrester (2000)

Airball! Airball! Airball!

4 May 2001

"Finding Forrester" is a film that had a lot of potential. It was a bluechip recruit, if you will. The story line is a blatant ripoff of "Scent of a Woman" and "Good Will Hunting" with a little "Field of Dreams" and "Hoop Dreams" thrown in. But if you're going to 'borrow' plot and thematic elements from earlier movies, these four are good ones to choose. So the fact that the story was unoriginal bothered me only slightly.

When I read the synopsis of the film, I was actually quite excited to see it. I've always enjoyed stories of people rising above their status and the expectations that others place on them. I also enjoy films that feature a character who excels at something society tells them they're not supposed to excel at.

But I thought Gus Van Sant - who's a vastly talented director - and rookie screenwriter Mike Rich really shortarmed this effort. Several critical characters, including Forrester, weren't developed to their potentials. Why exactly did Forrester hole himself up into a cluttered apartment for 20+ years? Why did he write books only to leave them unseen and unread in a file cabinet? Because his brother died and the nurse caring for him was a fan of Forrester's novel?

The Robert Crawford (F. Murray Abraham - who gave a typically terrific performance) and Clare Spence (Anna Paquin - who did not) characters were also very bland. I never really hated Crawford like I should have hated him. I don't think Abraham's to blame for that - his character was simply underdeveloped. I still can't figure out how Clare was at all relevant to the story - given the different-sides-of-the-tracks love story was hinted at but never resolved for or against.

And whatever happened to the John Hartwell character that Jamal began developing a competition with on the basketball team? A conflict between Jamal and Hartwell was introduced but also never resolved to any particular satisfaction.

Some of the acting also left a lot to be desired. It's hard to imagine that a film featuring 3 Oscar-winning actors could suffer from mediocre acting. But somehow "Forrester" pulls it off. Sean Connery gives a passable, if uninspired, performance as a Pulitzer Prize winning writer who sees writing talent in Jamal and crawls out of his hole to help him develop it. But Busta Rhymes may perhaps be the worst rapper-turned-actor since The Fat Boys did "Disorderlies" in the 80's. And I was also unimpressed with newcomer Rob Brown's performance as Jamal. Don't even get me started on Anna Paquin and the basketball coach.

I might also add that I've never seen such uninspiring basketball game scenes in a movie. I think I liked the basketball games in "Teen Wolf" better than I liked these. Van Sant did amazingly little to develop any suspense with these games.

I've been a fan of Gus Van Sant's since I saw his powerful road-crime drama "Drugstore Cowboy" over ten years ago. With the possible exception of the remake-that-never-should-have-been "Psycho", this is his worst major film. It's slow, depressing, and at times frustrating. It's a shame when such a promising concept as this suffers from marginal writing, directing, and acting efforts.

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O Brother, Where Art Thou? (2000)

10/10

The Coens coup de grace...

9 March 2001

What a terrific little film! The performances of the three escaped convicts (Clooney, Tim Blake Nelson, John Turturro) are all deserving of recognition. I was particularly fond of Nelson's numbskull "Delmar." The script was based on "The Odyssey" by Homer and there are multiple direct references to the epic. Set in the Great Depression, however, the Coens creatively weave half-truth histories into the story. (Partially) Real-life politicians, crooks, Klansmen, and musicians meet up with the trio as they make their way to a hidden fortune.

Another remarkable achievement of this film is the incorporation of some great period music. The soundtrack is one of the best to come out in recent memory. Under the direction of the legendary T-Bone Burnett, "O Brother" resurrects the Bluegrass sounds reminiscent of Bill Monroe, Lester Flats and Earl Scruggs. Ingeniously, the Coens fashioned the script to present the music as a major star of the film, and not just background garnish. It's not far off to refer to this picture as a musical...or at least a parody of a musical.

I'm generally a big fan of Coen films. I remember thinking that Barton Fink was the most underrated film of its day. I think that "O Brother" which was really snubbed by Oscar might be picking up the baton. Run, don't walk, to the theater to see this film. In my estimation, it's better than each of the 5 nominees for Best Picture this year.

9.5 out of 10 stars.

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What Women Want (2000)

7/10

Great concept! Questionable casting.

18 December 2000

Mel Gibson is at the top of his comedic form in this cute little film. It's sure to be a hit with females (particularly the lovelorn and the high school aged ones). I laughed out loud at least 10 times - which is about 5 above average for romantic comedies. I think the Julia Roberts-Meg Ryan-Sandra Bullock-etal romantic comedy genre is a bit tired and it needs some new concepts such as this one. For this alone, I think "What Women Want" is worth watching.

But I can't get over the casting choices of Helen Hunt and Marisa Tomei. Hunt is cast as a go-getter professional woman who falls for the guy she competed with for an executive position at a Chicago ad firm. But she has real trouble playing both a lovestruck woman and a hard-charging professional in the same character. This is not to say that it can't be done...but Hunt just didn't capture it.

Kudos do go to Marisa Tomei for her portrayal of a struggling actress biding her time as a coffee waitress. She had some real chemistry with Mel Gibson and I wonder how she would have done in Hunt's role.

I also enjoyed the work of Ashley Johnson as Gibson's 15-year-old estranged daughter. She captures the pressures of coming-of-age very well in the relatively short screen time she was offered.

7 stars out of 10.

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Nurse Betty (2000)

9/10

A very odd black comedy in the tradition of the Coen brothers

19 September 2000

Warning: Spoilers

****SPOILERS****

At first glance, "Nurse Betty" has all the appearances of a good ol' girl-meets-boy heartwarmer. Betty Sizemore, a smalltown diner waitress, gawks obsessively at her soap opera dreamboat Dr. David Revell (played convincingly by Greg Kinnear). Everything seems to be going along very normally. Then Betty's husband Del, a philandering, abusive, and conniving used car dealer, enters the picture. The picture veers left quickly and I felt immediately thrust into the odd confines of Barton Fink or The Hudsucker Proxy.

I won't give too much away. But I will say that "Nurse Betty" was quite a breath of fresh air. The plot is very far-fetched, so check your sense of reality at the door. I think that Zellweger should contend for an Oscar as the amnesia stricken, soap opera obsessed Betty. I think that Morgan Freeman - one of my favorite actors - was miscast as a Jules Winfield type of repenting hitman. There was very little chemistry between him and Chris Rock.

But the story is fresh enough and the acting superb enough to make "Nurse Betty" a very rewarding and entertaining film.

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Erin Brockovich (2000)

It's a shame the filmmakers were not completely honest

31 March 2000

"Erin Brockovich" certainly earns its keep as an entertaining - if somewhat vulgar - retelling of a David vs. Goliath legal story. I'm sure everybody's familiar enough with the plot that I'll skip the summary.

My problem with this film is that it lacks the appropriate epilogue. The Environmental Protection Agency issued a report on Chromium 6 that completely and unequivocally debunks the notion that the chemical was responsible for ANY of those illnesses in Hinkley. Chromium 6 has certainly been linked to 2 types of cancer - but *zero* of the Hinkley plaintiffs suffered from these types of cancer. Unfortunately, the report was issued after the $333 million settlement between the citizens and PG&E.

So what this movie basically exhibits is a greedy bunch of ersatz victims, led by Erin "The world crapped on my doorstep" Brockovich, who succeeds in putting $130 million into the coffers of a law firm, $2 million into her own pockets, and an average of only $300,000 in the pockets of the supposed victims. All of this under faulty scientific and medical conclusions.

PG&E and their operating activities were not at all to blame for whatever ailments afflicted the citizens of Hinkley, CA. But what does that matter? PG&E has billions of dollars and the citizens were poor and sick.

But, in this viewer's opinion, each and every one of those people are only modern day thieves - particularly Brockovich and Masry.

"Erin Brockovich" succeeds only in celebrating a modern day culture where people deflect the responsibility for their own lives to other parties (particularly ones with deep pockets). It's a plague of our society that this film not only displays, but champions.

2 out of 10 for sheer dishonesty.

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The Cider House Rules (1999)

Degenerative humanity in a beautiful package

20 March 2000

Judging by the warmth and compassion of the characters in this film and by the soothingly textured New England countryside scenery, one could easily forget the rather complex issues addressed in "The Cider House Rules." "Cider's" subjects of drug addiction, incest, infidelity, and (most of all) abortion might leave a more inquisitive viewer to wonder whether they just watched "The Waltons meet Oliver Twist" or a repackaged "American Beauty".

Watching this film is like eating a sweet, homemade pie with swamp-scum filling. Don't get me wrong. I fully believe the movie to be worth the price of admission. It was entertaining and the performances of promising newcomer Maguire and reliable veteran Caine deserve the accolades they have received. Yet, I can't get over how the filmmakers have so beautifully and touchingly presented such tawdry subject matter.

I spent the first 20 years of my life apathetic on the issue of abortion (which is to say I was pro-choice). I have since come full-circle on the issue and now proudly declare myself to be pro-life. This change of position was not so much caused by religiosity than it was by a frank observation of some disturbing trends in society. I firmly believe that we do not value human life as much as we used to and I can think of no other issue that has contributed to this more than legalized abortion (except, perhaps, capital punishment and euthanasia).

I do not mind a fair debate on the issue - it is so complex as to warrant some serious, honest, and fair debate. "Cider" does not present the issue fairly, though. Homer Wells' change of heart on the merits of abortion was motivated by two relatively rare events. First, a young patient nearly killed herself in an attempt to self-terminate a pregnancy with a foreign object. Second, Rose Rose was traumatically raped and impregnated by her father. Homer decided, after this second circumstance, that abortion had merits and the right thing to do was kill the baby.

While I'm sure that many occurrences of situations similar to these took place in the pre-Roe v. Wade days as well as today, "Cider" attempts to legitimize all abortion-on-demand by these relatively rare sets of circumstances. I think objective viewers deserve a more realistic presentation of the facts surrounding the abortion debate - if, in fact, the cinema is a proper place to offer any argument at all (seeing as how the opposing viewpoint has no opportunity to rebut).

In all, "Cider" is great filmmaking if for no other reason than its ability to distract less discerning viewers from its real contents. The costumes, sets, acting, writing, and direction are all worth kudos. It was as sweet a pie as I've tasted (although I had to hold my nose prevent the swampish odor).

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Sleepy Hollow (1999)

8/10

I liked Disney's version better

27 November 1999

I'm a fan of Tim Burton's. I really enjoyed his work in "Ed Wood" (a very underrated film) "Edward Scissorhands" and most of his others. While I liked this film, I don't think it was his best work.

The same goes for Johnny Depp and Christina Ricci, whom I feel to be two of the most talented actors in film today. (Note: Ricci has really become a very beautiful woman).

The gore was a little thick in this movie and the strays from the original masterpiece work of Irving were too many. The volume in the theatre was also a little loud for me (but that's not Burton's fault).

I did get a number of chuckles, though. If you watch this film, go into it expecting to laugh more than anything. It is a very wicked black comedy.

But I'd take the animated Disney masterpiece over this one if you're interested in seeing a good retelling of "The Legend of Sleepy Hollow."

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Life Is Beautiful (1997)

10/10

A very moving comi-drama

27 November 1999

In a world where such movies as "There's Something About Mary", "Austin Powers", "South Park" and other ridiculous filth pass as good comedy, Roberto Benigni has brought hope to lovers of great comedy. Benigni resurrects the classical comic styles of Buster Keaton, Laurel and Hardy, and Charlie Chaplin in La Vita e Bella, a very touching drama about a newfound family on the verge of being destroyed by the Holocaust and the good humor of the father which keeps their hope alive.

This film is a very refreshing watch for lovers of good cinema. Rare is the film that can give its viewers such a dichotomy of emotions so successfully. La Vita e Bella is truly funny and truly tragic.

As many have said, I think the 1st part of the film (the courtship of 'Princepesa') should have been a little shorter to allow more time to be focused on the intriguing relationship between father and son in the prison camp during the second half. However, that takes little, if any, from Benigni's near-perfect masterpiece.

A definite ***** (out of 5). Watch this film as soon as you get 105 minutes of free time!

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Amadeus (1984)

10/10

My all-time #1!

15 August 1999

I don't know whether it's the music, the dialogue, the costumes, the superb performances, or the moving drama. But something about "Amadeus" puts this ahead of such powerhouses as "The Godfather" and "The Bridge on the River Kwai" on my favorite movie list.

Being that I'm a musician, seeing such an enjoyable (albeit fictional) account of the Maestro probably helps a lot. W.A. Mozart - though he is really not the main character - is portrayed as an 18th century wild-guy. His musical talent is treated with the respect it deserves, but with a flair of sexual playfulness, all-night partying, and defiant zaniness. Mozart is undoubtedly the finest composer of music ever to live. But the added twist on his corny demeanor and fish-out-of-water relationship with the Emperor's court makes the film so much more enjoyable.

Special kudos go to F. Murray Abraham for his unforgettable and passionate portrayal of Antonio Salieri and to Jeffrey Jones for his underestimated portrayal of Emperor Joseph. Tom Hulce - like George C. Scott with Patton - will forever be identified with this character. He does a miraculous job turning Mozart into a classical version of Jimi Hendrix.

Note that this movie (and the stage version from which it was derived) is pretty much total fiction. While some elements of the film are accurate, no evidence exists that suggests that Salieri and Mozart had such an adversarial relationship. Salieri also had nothing to do with the composition of Mozart's "Requiem."

But don't let this spoil the fun. "Amadeus" is a fine example of film-making at its most rewarding. Watch it!!!

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Instinct (1999)

A film that just tries too hard....

14 August 1999

For the life of me, I can't figure out what this film was supposed to be about. Animal Rights? Human rights? Psychology? Love? Prison reform?

I'm a person that tends to get a little fed up with Hollywood's penchant for political activism in films. It seems anymore that every Hollywood film has some leftist political bent that it forces upon audiences. This movie continually hounds us with "Animals are people too" themes and scorns zoos, prisons, and hunters.

And on top of that, the film itself wasn't very good. Hopkins seems to be trying to rekindle the aura of his famous Hannibal Lecter character with quick mood swings and spooky mind-digging discourses in prison settings. But it just doesn't work. And a maybe/maybe-not love affair between Gooding and Maura Tierney's character just teases and fizzles.

The one bright spot was Gooding. He once again displays why he is one of Hollywood's most promising young talents.

Save your time and miss this film.

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The Last Supper (1995)

A bizarre comedy about political extremism.

14 August 1999

I couldn't help but chuckle all the way throughout this film. As a pretty staunch conservative, I was admittedly a little intrigued by the stated plot. "How was Hollywood going to insult my beliefs this time," I thought to myself as I read the box at the video store. What I found was actually a pretty even-handed black comedy that disparages the craziness of any political extremism. In fact, I think the liberals got worse treatment here than the conservatives (a definite first in Hollywood).

The conservative characters were largely just caricatures of their real-life counterparts. This makes for a very humorous look into some commonly held beliefs on the right side of the aisle. The right-wing radio host was a ridiculous exaggeration of Rush Limbaugh.

But in the surprising end, it's the wacko liberals that are painted as hypocrites (as many of them often are).

Whatever your political ideologies, watch this film and place your tongue firmly in your cheek. It's a classical sleeper flick that deserves more notoriety.

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Hoosiers (1986)

10/10

A stunning portrait of Indiana basketball...

14 August 1999

Growing up in Indiana, I've had the pleasure to experience "Hoosier Hysteria" my entire life. High School basketball is something special around here - much like High School football in Texas. In addition to being a heart-warming film about second chances and overcoming staunch adversity, "Hoosiers" gives the rest of the world a glimpse into the treasured tradition of Indiana hoops.

The two main characters pay homage to this tradition. Norman Dale - standing outside a raucous arena and about to enter his first game as an Indiana HS basketball coach - sighs quietly "Welcome to Indiana Basketball." Myra Fleener (Barbara Hershey) gives a nail-on-the-head speech about star basketball players in Indiana. They are indeed treated like gods. Old stars like Bobby Plump, Oscar Robertson, Larry Bird, Rick Mount, Steve Alford, Glenn Robinson, and Damon Bailey were (and still are) at god status in Indiana. As you travel into the smaller towns in the state, you find that each one has their own local hoop heroes from days past.

One other interesting tidbit about this film were the casting choices of Hackman and Hopper - both of whom were at relative low points in their careers upon embarking on this project. The film's obvious themes of redemption are lived out by these two Hollywood icons as they both found resurgence in their careers after "Hoosiers."

Yes, I loved the film for its story and uplifting themes. But I also love the representation of the greatest basketball state in the country.

Note: In 1997, the Indiana High School Athletic Association convened to decide the future of single-class sports (including basketball). Milan High School's former star Bobby Plump, the inspiration for Hickory's Jimmy Chitwood, became a vocal critic of the IHSAA's decision to move to multi-class basketball. The move was mostly championed by small schools like Milan. In the end, the small schools won the fight and "Hoosier Hysteria" as we've come to know it died the following year.

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