Change Your Image
RoxanneAndorfer
Reviews
Home of the Brave (2006)
"Wars Begin Where You Will..."
"...But They Do Not End Where You Please."
~Machiavelli
This is a profound film, although not a perfect film. As a psychologist and as a veteran of the Gulf War of 1991, I whole-heartedly recommend this movie for anyone who has - fortunately - never been to war but who knows and loves someone who has, and who has felt pain because of the disconnection between you and your loved one. Just as Coppola's "Apocalypse Now!" revealed to us some of the horrors and emotional torment of combat on the ground in Vietnam, so this movie shows us that the war doesn't end for the soldier, sailor or airman when he or she returns home. For many, the homecoming is the beginning of the worst part. After having seen your friends maimed or killed while you survived, or having survived but been maimed yourself in either body or spirit, how do you reconnect with those who haven't seen what you've seen? How do you even begin to disclose to your wife, your lover, your sibling or child, the depth of your pain and the vastness of your loss of innocence, and optimism, and your faith in the essential goodness of your fellow man? How do you begin to let them know how emotionally crippled and monstrous you feel in a way that won't lead them to see you as the crippled monster you unrealistically feel yourself to be?
This film, despite its weaknesses, admirably portrays some of that frightening and difficult process. It is not a film for those afraid of facing the truth.
Bridget Jones: The Edge of Reason (2004)
An Agreeable Bit of Fluff
Although this movie is somewhat lacking in narrative substance, there is little in the way of subtext and back-story, and the cinematography is less than inspired, Renee Zellweger's performance as a charming, clumsy, slightly overweight guileless waif who strives vainly to be oh-so-sophisticated and sensible about love is genuinely emotionally engaging. She turns a basically two-dimensional character into one who really matters to us and with whom we can unashamedly identify. She brings to mind Audrey Hepburn's performance in Breakfast at Tiffany's. It's not a great film by any means, but it is a film that made me feel happy and hopeful. And these days, that's saying quite a bit.
But what do I know? I'm in love with Renee Zelweger.
Terminator 3: Rise of the Machines (2003)
The more I think about this movie, the more it grows on me.
I didn't go to see this movie with very high expectations, because it has gotten such varied and sometimes disparaging reviews this forum. However, since I am an aspiring screenwriter and true cinema fan rather than simply a moviegoer, I decided to give this movie the benefit of the doubt. At the very least, I could end up writing a scathing attack on it.
Instead, I have found that I enjoyed the movie as I watched it, saw some flaws, but have discovered that the more I think about it, the more I want to give it a higher rating than I initially did (7). The film's two major dramatic flaws, in my opinion, are: (1) An over-the-top chase scene that comes way too early in the script without sufficient build-up in suspense leading up to it; (2) A little too much campy humor recycled from the first two Terminator movies.
The good outweighs the bad by a large margin. (1) The screenplay has some intriguing plot subtleties that grow on me after awhile, the most notable of which is the actual nature of the safe place. It could be the way it is for several possible reasons, some strategically favoring SkyNet, some the humans. Any of them could be spun into a major plot element for a sequel. The rest you'll just have to find yourself. (2) The character development of both John Connor and Kate Brewster is elegant, believable and moving, and also opens possibilities for future character development. (3) The plot is an interesting variation of the "Reluctant Hero" theme, which is a classic in literature and drama and always will be. John Connor is a hero who is almost an anti-hero. True, they could have sharpened his ambivalence a little (sacrificing some chase footage for it would have been an excellent trade, in my opinion). (4) The Terminatrix is a very good villain: She's young, she's sexy, and she's chillingly soulless. She is actually too smoothly sexy and physically perfect, but that makes sense when you consider that she has been created and programmed by other machines who, lacking the real-world experience of humans, can only base her appearance and humanoid behavior on their knowledge of human stereotypes.
That last leads me to some thoughts about Arnie's character. He is clearly getting a little too old for a reprise of his customary youthful, physically perfect role in any sequel. If he is brought back in a sequel - and I hope he is - a good, imaginative screenwriter could really work with his advancing age and loss of physical perfection. Since he is programmed by humans with real human experience, he could be brought back as a deceptively older and less physically powerful character, but more psychologically sophisticated (more like a true human with a soul), and his deceptive physical appearance combined with his greater psychological sophistication could be his aces in the hole when his strength and nonhuman cyborg qualities are insufficient. In other words, he could be shaped into an amazing supporting hero in any sequel. Maybe I could write his role!
Terminator 3: Rise of the Machines (2003)
The more I think about this movie, the more it grows on me.
I didn't go to see this movie with very high expectations, because it has gotten such varied and sometimes disparaging reviews this forum. However, since I am an aspiring screenwriter and true cinema fan rather than simply a moviegoer, I decided to give this movie the benefit of the doubt. At the very least, I could end up writing a scathing attack on it.
Instead, I have found that I enjoyed the movie as I watched it, saw some flaws, but have discovered that the more I think about it, the more I want to give it a higher rating than I initially did (7). The film's two major dramatic flaws, in my opinion, are: (1) An over-the-top chase scene that comes way too early in the script without sufficient build-up in suspense leading up to it; (2) A little too much campy humor recycled from the first two Terminator movies.
The good outweighs the bad by a large margin. (1) The screenplay has some intriguing plot subtleties that grow on me after awhile, the most notable of which is the actual nature of the safe place. It could be the way it is for several possible reasons, some strategically favoring SkyNet, some the humans. Any of them could be spun into a major plot element for a sequel. The rest you'll just have to find yourself. (2) The character development of both John Connor and Kate Brewster is elegant, believable and moving, and also opens possibilities for future character development. (3) The plot is an interesting variation of the "Reluctant Hero" theme, which is a classic in literature and drama and always will be. John Connor is a hero who is almost an anti-hero. True, they could have sharpened his ambivalence a little (sacrificing some chase footage for it would have been an excellent trade, in my opinion). (4) The Terminatrix is a very good villain: She's young, she's sexy, and she's chillingly soulless. She is actually too smoothly sexy and physically perfect, but that makes sense when you consider that she has been created and programmed by other machines who, lacking the real-world experience of humans, can only base her appearance and humanoid behavior on their knowledge of human stereotypes.
That last leads me to some thoughts about Arnie's character. He is clearly getting a little too old for a reprise of his customary youthful, physically perfect role in any sequel. If he is brought back in a sequel - and I hope he is - a good, imaginative screenwriter could really work with his advancing age and loss of physical perfection. Since he is programmed by humans with real human experience, he could be brought back as a deceptively older and less physically powerful character, but more psychologically sophisticated (more like a true human with a soul), and his deceptive physical appearance combined with his greater psychological sophistication could be his aces in the hole when his strength and nonhuman cyborg qualities are insufficient. In other words, he could be shaped into an amazing supporting hero in any sequel. Maybe I could write his role!
The Hours (2002)
An amazingly intense, focussed film
Rarely have I seen a movie that is as emotionally intense and focussed as "The Hours," since the era of Orson Welles, Alfred Hitchcock, and Ingmar Bergman.
Nicole Kidman gives an absolutely perfect, crystalline performance in the role of Virginia Woolf. In this role, for the first time, she has succeeded in submerging her own off-screen personality into that of her character, a rare accomplishment for an actor who has become recognized as "a star." She didn't even look like Nicole Kidman playing a role; she looked like "the" Virginia Woolf, though not quite as homely. Julian Moore and Ed Harris are not far behind, either.
This movie has been described by some other reviewers as "too long and too boring." But the whole point of the movie is the portrayal of three lives in which the empty, oppressive monotony of time - "The hours, Clarissa, the hours" - gradually bears down upon and drives to extreme actions three of the characters: Virginia Woolf herself (Nicole Kidman), Laura Brown (Julianne Moore), and Richard Brown, her son, who is played as an adult dying of AIDS by Ed Harris and as a child by Jack Rovello. This is in ironic contrast to Clarissa Vaughan (Meryl Streep), who is able to find escape from the existential angst by focussing her life on other people.
This is not a movie for the faint of heart who are uncomfortable with intense emotion; nor for those who fly from self-examination; nor for those of limited intellect. It is very much a film for adults.
Lumière et compagnie (1995)
Actually quite an impressive project
This video was given to me by a friend who knows that I look at film not merely as entertainment, but art as well. This project with its 40-odd 50 second vignettes done by a mix of directors of varying talents and celebrity, using an antiquated camera, gives an opportunity to see snapshots of their work as pure art. All of them are at least passable, with over half being very, very good. A few of them are truly outstanding, the most notable being Andre Konchalovsky's gem on life, death, temporality and nature. David Lynch's segment is a close second. I highly recommend this to any serious student of film as art.
Lost Souls (2000)
A finely-crafted film
This finely-crafted film features excellent cinematography, dark, lush scenes freighted with portent, a complex, highly spiritual and precariously-balanced main character portrayed well by Winona Ryder and - unfortunately - a weak screenplay and unsatisfying ending. This could have been a much better film.
The Ninth Gate (1999)
Roman, Roman, Roman! What were you thinking?
I expect more from Roman Polanski. This movie was outstanding all the way through until the last 30 seconds when it stumbled over the edge of the cliff. The ending has to be one of the weakest endings I have ever seen in a movie of this genre, rivalling that of Lost Souls. If you can force yourself to stop watching right when you see the last engraving in the book, you will miss nothing.
Let It Ride (1989)
A most amazing day at the races
If you are a fan of thoroughbred racing, you will probably love this film. The opening number from Guys and Dolls alone is a real treat. Richard Dreyfuss turns in a sterling performance as a down-at-the-heels racing enthusiast with a slight gambling problem and a few errors in judgment. It's a winning ticket.
Lost Souls (2000)
A finely-crafted film
This finely-crafted film features excellent cinematography, dark, lush scenes freighted with portent, a complex, highly spiritual and precariously-balanced main character portrayed well by Winona Ryder and - unfortunately - a weak screenplay and unsatisfying ending. This could have been a much better film.
Miracle on 34th Street (1947)
The absolute feel-good movie of all time!
What more can I say? Christmas without seeing this movie would be diminished. Natalie Wood as the little girl is at her most adorable. The message is timeless. If you're ever depressed, and feeling hopeless about your life and the state of the world, then see this movie.
Bless the Child (2000)
A must-see spiritual thriller
This is one of those rare cases where the screenplay is vastly superior to the novel. In fact, there is little in common between the screenplay and the novel other than the title, and that is a good thing. The screenplay brings the battle between Good and Evil into much sharper focus than does the book, and dispenses with the book's muddy theology and theosophy. The portrayals of the child's developing miraculous gifts and visions are little cinematic gems in themselves, and the vision of the weeping statue of St. Mary in the side chapel of the Roman Catholic church is particularly moving. The parallels between the temptations of the child and the three temptations of Christ in the wilderness are elegant theological touches. The portrayal of the gentle and fierce goodness of the child's aunt/foster mother by Kim Basinger are believable and engaging. This is a movie that most will probably either love or hate. Viewers who believe in the actual existence of God and Satan and the reality of the ongoing war between Good and Evil will probably love it. In my opinion, this movie is on a par with the original Exorcist.