Reviews

The View began as a fascinatingly fresh and new kind of morning show in 1997, with a collection of intelligent, successful, and vivacious women who could reflect upon current events with thought. Their "views" were varied and multi-layered, and provided unbiased television to wake us up.

In recent years, The View has become less about the virtues of its women and more about their rise to fame. As Meredith, Star, Joy, and Barbara (the four women who, until recently, stuck out 2000 episodes of the gab fest) reaped the benefits of their obviously popular show, the audience became at once disenchanted and guiltily curious. As new co hosts entered and exited, the women morphed into glossy products of the show, viewpoints became less varied and more rigid, tensions rose and The View entered into a frivolous time period of self-congratulations. All this culminating in the recent blow-out- a face lift from the network, firing Star Jones, the exit of Meredith Viera, and the hiring of Rosie O'Donnell. Viewers reached an opportunity to see these women outside of The View use their wills to say what they could never be say on ABC. Now, viewers tune in to see what's next for the show's cast- whose safe (Barbara), whose not (Elisabeth and maybe Joy), if Rosie is in or out, and if they will ever mention Star again.

In other words, viewers no longer tune in for the show but in curiosity of its politics. Sure, that means there are still ratings for The View, but fickle ones- the show has a morbidly scandalous cloud over it in recent weeks. And once the show settles down, and probably rises to even more self-congratulating heights, the fan ship will die down steadily.

That is why, while ABC still has viewer-ship, The View is in need of a serious and quick reworking. Starting off by taking a fresh look at the cast- and if all three women (meaning Joy, Elisabeth, and Rosie- Barabara is clearly off limits) are really reflective of The View's mission- do they really represent popular facets of American women? New cast members are needed, and it would be advisable not to go ahead with Rosie, as she adds to the show's recent circus act undertone. Secondly, ABC and the women would do well to focus less on the show's business ON the show and in the media, and focus on REAL current events, while really discussing their views, and not just making self-effacing or self-upholding jokes on the matters.

If The View can get through this firestorm, and come back in a fresh way, it will be better then before.

Remakes are useless. The creative mind is boundless, and in Hollywood lately it seems that those in charge have forgotten this fact: recycled, reused, and retained are three words to describe the current creative talent in Tinsletown.

Thank goodness, then, that Bewitched is NOT a remake! In fact, it's hardly a re-imaging. Using the classic sitcom as a FOUNDATION, Bewitched transcends current remake or "romantic-comedy" fare to become a wonderfully entertaining, bright, smart, and deeply enjoyable EXPERIENCE (what else is a movie for?).

And what a beautiful foundation the sitcom is. Appearances by Uncle Arthur, Gladys Kravitz, and Aunt Clara suffice any fans of the classic-show, while the fantastic writing and direction by the Ephrons suffices those who crave creativity at the cinema, which is to say the film has its own look, voice, and absolute CHARM.

Nicole Kidman plays Isabelle Bigelow, a witch, hoping to shed herself of "instant-gratification" and simply be: in a world as beautiful as real life. Meanwhile, Will Ferrell as Jack Wyatt, a washed-up movie star, attempts to remake the TV show Bewitched for modern times, with the clear goal of finding an unknown actress for Samantha. After spotting Isabelle his goal seems realized, and the two begin to recreate the beloved sitcom. As Isabelle finds it increasingly hard to withhold her magical powers (especially dealing with her crush on Jack) fantastic humor and charm result.

Nicole Kidman is absolutely delicious as Isabelle. She again displays her deep talent by shedding her dramatic persona and appearing fresh, funny, and sophisticated. She proves herself as a treat for the masses AND for artistic-acting lovers. She gives all- she is a movie star and an actress, and such refreshing delight would be hard to come by this summer by ANY actress. She surprises once again.

Will Ferrell is altogether hilarious. Providing his classic comedy with a touch of individuality for his role (wherein lies his genius) he completely satisfies as Wyatt. But Ferrell goes one step further from satisfaction to brilliance with his reinvention of himself into a romantic lead. His "straight-acting" is solid, clear, and trained.

Together, Kidman and Ferrell simply light up the screen. Here is a screen-duo that should continue on in the spirit of Hepburn and Tracy. Their undeniable chemistry makes the film most definitely fun to watch.

With a magnanimous slew of supporting players, including Michael Caine as Isabelle's father, the legendary Shirley MacLaine as the remake's Endora, Jason Schwartzman as Jack Wyatt's ultra-power, sleaze-bag agent, and a very funny Kristin Chenoweth as Isabelle's neighbor, every second of Bewitched is filled with wonderful comedic energy.

And all of this is to thank Nora Ephron, who skillfully crafts a comedy of great-expectations with creativity, style, experience, and fearlessness. Bewtiched is as fun to look at as it is to hear, and it moves like a fine dance, among glittering Los Angelas (like you've NEVER seen it in a film). She at the same time pays homage to the original series, creates a new film, and tacks on some heartwarming messages.

Thanks to the fabulous pairing and individual pairings of Kidman and Ferrell, a great supporting cast, and fantastic execution can turn a great "foundation" into a great movie, and it doesn't have to be a remake, either.

There are hardly words enough to gush about The Innocents, the finest "horror" filmed, but one must try.

I suppose the singular aspect which make The Innocents so uniquely masterful its direction: Jack Clayton demonstrates complete genius as he weaves a gothic tail with spectacular (in the greatest essence of the word) imagery, and amazing movement and language. It is a film of utter craftsmanship, readily in charge of its primary goal: to scare. And that it does. It is not usual for a horror film made in 1961, of all years (a year that would include, and follow, and present many overmade terror films of a similair target) to actually SCARE a modern viewer. Especially if that viewer has indulged himself in his most painful guilty pleasure (horror films) regularly, and has become a master of scares and suspence. The film manages to create something of an amazing pheate, of leading up to and then executing divinely gothic frights, that amaze and tantelize the darker part of the human spirit.

The story itself can be presented as a gothic wonder of sorts: it is an intriquette array of pasts that meet with the future, focusing on Mrs. Giddens, a governess (played superbly by the plainly superb Deborah Kerr) in an immensely gothic and classic manor in Edwardian England, nursing for and to two children, seemingly possesed.

The viewing pleasure of The Innocents can not be fully shown unless describing and depicting every beautiful moment (mainly due to Clayton's direction), which all add up to an explosive, amazing, thrillingly legendary conclusion.

The Innocents is a film not only well made and executed with perfect professionalism and craft, but a beautiful horror. A 10 out of 10, an A+

"Chicago" is a stunning, brilliant piece of cinema.

It tells the satirical story of a group of characters living in the windy city, in the roaring twenties: a voluptious vamp that burns in the spotlight, a red-hot mama matron, a greedy, flamboyant lawyer, a wannabe-star chorus girl, and her neglected, suffering, and lovable husband. There lives are interwoven and elaborated on, centering on the chorus girl's rise to fame, through shooting her lover. The genra here is musical. And every number is wildly entertaining, taking on the musical form of a vaudevillian show: there is a flashy, signature opener (All that Jazz), a legendary closer (Hot Honey Rag), a circus-show me act, and each character is rewarded a song of their own, to express themselves: the chorus girl, Roxie (Roxie), the voluptious vamp, Velma (I Can't do it Alone), the red-hot mama matron, Matron Mama Morton (When You're Good to Mama), the greedy Lawyer, Billy (All I Care About) and the neglected husband (Mr. Cellophane) dance gorgeoussly around in gold lamee, flapper outfits, sultry black vixon dresses, and tramp costumes to exagerate their personas.

The story's main center (the telling of the voluptious vamp and the chorus girl, fooling the public with their murders) is filled with juicy dialogue, and a beautiful flow from song to scene to song.

The talent of "Chicago" is unsurpassed. Renee Zellweger gives a legendary performance as Roxie, the chorus girl. Her brilliant, realistic acting, and her oozing charismaa through her musical numbers earned her an Oscar nomination, a SAG Award, and a Golden Globe. Richard Gere gives a fine, haughty potrayel of Billy, the lawyer, with a marvelous tap routine elaborating his talent. He was awarded a Golden Globe. Queen Latifah, and her wildly entertaining number (When You're Good to Mama), as well as her red-hot potrayel of Matron Mama Morton, earned her Oscar and Golden Globe nominations, the same as John C. Reilly who gives a beloved, funny, and heartbreaking potrayel of Amos. Mr. Reilly can belt out a mean Mr. Cellophane. But the highlight of Chicago's cast is Catherine Zeta-Jones, as Velma Kelly. Every time I view Chicago I am reminded of her brilliant talent. Miss Jones is a phenominal dancer, in rememberence of Cyd Charise and Ginger Rogers, as well as a fabulous tune belter, up there with Judy Garland. She's also an amazingly real actress, and brings beauty and class back to the movie musical. Her frankly beautiful potrayel of the vamp earned her a Golden Globe Nomination, a SAG Award, a BAFTA Award, and the grandaddy, an Oscar.

However, the man of the hour involved with Chicago is Rob Marshall, who is forever-presesnt behind the camera. He weaves a perfectly gorgeous mood throughout the memorable scenes, and his choreography and dancing abilities are on par with Bob Fosse. The star of Chicago is its impeccable dancing and choreography, with sure and creative movements everywhere you look. Mr. Marshall earned a DGA Award, and an Oscar nomination.

Chicago is one of the best films of the year, of the generation. Never before have I seen anything quite like it. It brings back the old movie musical, while giving a Broadway flare. It is completely revolutionary and legendary. A perfect 10/10.

"Bullets Over Broadway" is a wonderfully crafted dark comedy, written beautifully by Woody Allen.

"Bullets" is primarily a theatre story. For any lover of theatre and Broadway, this film will be a delicious treat to you. Allen crafts a witty satire about a no-talent playwright, trying to get one of his less-then-perfect dramas started with a gangster's ditz in one of the leading roles, carrying on an affair with an aging diva, and trying to control the leading man's eating habit. The film takes many a surprising and witty turn, and Allen fans will partake in it with joy.

One of the articles an Allen film usually has is an amazing cast, full of talented performers suited for the roles they play, and "Bullets" is no exception. John Cusack plays the "Allen" role, stuttering and mumbling an over the top aroma, just like Woody himself. Jennifer Tilly is gorgeoussly fitted with an incredibly annoying voice as the dumb girlfriend, the role which won her an Academy Award Nomination. But the award in 1994 went to Diane Wiest, who steals the show, as an aging stage diva. She's hillarious, and pulls off legendary one liners (Don't Speak, no, Don't Speak), so that every Allen fan came quip them at the top of their heads.

Set in the roaring twenties, in a crime soaked theatre world, Bullets Over Broadway," is a film not to be missed by any theatre fan, Allen fan, gangster fan, or anyone whose ready for a stomach wrenching laugh.

"A Cry in the Dark" is a masterful piece of cinema, haunting, and incredibly though provoking. The true story of Lindy Chamberland, who, in 1980, witnessed a horrific sight, seeing her 3-month-old baby being brutally taken from their family's tent, while camping on the Austrailian outback. Azaria (the baby) was never seen again, and the result of her horrendous disappearance caused a true life frenzy all around the world. Meryl Streep does immaculate justice to the role of Lindy, as she always does. But the one thing that helps "A Cry in the Dark" never fall flat is the brilliant direction. A truly inspired and accurate outlook on this baffeling case, tears are brought to the eyes. The concept is nothing less then terrifying, and afterwards you are left haunted, but also inspired.