Laura's review of 'The Bone Collector':
"The Bone Accumulator," adapted from the Jeffrey Deaver novel, is
subpar material given the important Hollywood gloss graced with a performance
by Denzel Washington that the film doesn't be entitled to.
Washington is Lincoln Rhyme, an NYPD detective and noted forensics
specialist, who suffered a horrendous accident on duty that left
him with only the use of his head, upper shoulders and one finger.
While he's still on the payroll and has access to some very high
tech computer equipment, he fears 'becoming a vegetable' as the
result of the many seizures that plague him and has arranged his
'final transition' with his doctor, much to the consternation of
his home caregiver Thelma (a tip of the hat to Thelma Ritter performing
a similar role in "Rear Window" maybe?).
Then a multibillionaire and his wife disappear from the airport
in a cab. Street cop Amelia Donaghy (Angelina Jolie, "Pushing Tin")
responds to a call and discovers the man's body buried beneath railway
bed gravel with a hand outstretched that bears his wife's wedding
ring on a finger that's been skinned to the bone. Quick thinking
Amelia, who's read Rhyme's books on forensics, gutsily stops a train
to preserve evidence that the killer has apparently left on the
tracks.
The Captain (Michael Rooker) heaps scorn on her for this action,
but she gets Rhyme's admiration when she's brought to his attention
by his old partner Paulie (Ed O'Neill, TV's "Married With Children").
The evidence is a puzzle tauntingly left by the killer that Rhyme
believes will lead them to the victim's wife. He now has an interest
that gives him a short term will to live and he insists that Amelia
go into the field to act as his eyes and ears. She, of course, proves
to have unerring instincts, if absolutely no experience, but even
Amelia draws the line when Rhyme instructs her to saw off the hands
of a victim in order to secure a set of manacles as evidence.
The story sets up several particularly gruesome murders (capped
with the abduction of a young child and her grandfather) and a shadowy
killer who leaves clues which Rhyme figures out with ridiculous
ease (at least the book provided a geological/architectural history
of Manhattan which made Rhymes deductions play a bit more feasibly).
When Rhyme turns out to be the final target, a laughable finale
is played out and the revelation of the killer's identity is boringly
non-involving. And of course, Rhyme's will to live is given a boost
from Amelia's growing romantic interest (her intial hostility melts
as she realizes they're a true meeting of the minds).
Director Phillip Noyce, Denzel Washington and Luis Guzman (providing
levity as a forensics tech) deserve all the credit for making this
movie even marginally entertaining, even though Noyce resorts to
'jump out of the dark' scare tactics. I've found Washington bland
in several of his recent roles but he really shines here given the
challenge of acting, with no movement, from a bed. The rest of the
cast is of no interest whatsoever, although Queen Latifah could
have offered something as Thelma had she been given more to do.
Particularly adrift is Michael Rooker who's left done in by a story
that gives him no reason for his hysterically destructive behavior.
Tech credits are all fine, but "The Bone Collector" is gussied
up trash.
C
MUSIC OF THE NUB
Based on the 1996 Oscar-nominated documentary "Small Wonders,"
"Music of the Heart" tells the story of Roberta Guaspari (Meryl
Streep), a Navy wife with two small boys who, abandoned by her husband,
makes a gutsy move to East Harlem and, along with school principal
Janet Williams (Angela Bassett), begins a violin program which proves
so popular, its students need to be chosen by lottery. When funding
was pulled in its tenth year, help from none other than the likes
of Itzhak Perlman and Isaac Stern resulted in a triumphant Carnegie
Hall concert which extended the program for another three years.
Laura's review of 'Music Of The Heart':
"Music of the Heart" is a standard Rockyesque telling of an outstanding
teacher curriculum vitae along the lines of "Allude to b support and Launch," that it's so
finely acted it's one of the finest of its genre.
Horror director Wes Craven
("A Nightmare on Elm Circle," "Scream") chose this project to foil
out of his mold and he does a solid job with his cast (including
over 150 children!) and material. Pamela Gray's ("A Hoof it on the
Moon") script goes via the usual paces (Roberta has self-realization
while encouraging a certain of her students, the harshness of the neighborhood
is felt within the classroom, etc.), yet the main sign is refreshingly
flawed. As written, Roberta is heavy-handed with the restriction
("You're gonna make good your parents sick!" she's bootless of berating her
students), which gets her into some intense water in these PC times.
Her from the start attempt at amour with her hometown lady of the press friend Brian
(Aidan Quinn) finds her seduced and abandoned a more recent time. In
truth she completely gives up on d’amour until her teenage sons (played
by Charlie Hofheimer and Kieran Culkin) make good a singles ad for her
behind her undeveloped.
The marvelous Meryl Streep,
our finest actress, again disappears inside a character and is a
joy to behold as she schlepps her musical instruments and backpacks
yon the school district. Streep spent 4-6 hours a day culture
to play the violin (she had under no circumstances played a harmonious instrument) like
a professional and looks down to the ground guileless. Fine reinforce is offered
from Bassett as the no-nonsense backing, Gloria Estefan as a sympathetic
lecturer, Jane Leeves as photographer Dorothea von Haeften and particularly
from Cloris Leachman as Roberta's mom. The students, of whom fully
half had studied under the real Roberta, are all amazingly commonplace
in front of the camera, perhaps Craven's most outstanding realization
with this video. Isaac Stern, Itzhak Perlman, Arnold Steinhardt and
Signpost O'Connor all appear as themselves.
Tech credits are all top notch with with the exception of one glaring
continuity error (Roberta's hair rollers vanish during a kiss from
Brian). Director of Photography Peter Deming and Production Designer
Bruce Miller making the most of their NYC locations.
Endnote credits reveal that as a result of "Music of the Heart,"
Roberta Guaspari's violin program's funding has been reinstated,
an uplifting finale for an uplifting film.
B+
Brandon also meets Lana,
the on-again, off-again girlfriend of John, and is smitten, as is
Lana. The union all hold the phone out at Lana's where Lana's alcoholic mom
(Jeannetta Arnette) reigns and encourages partying as if she were
one of the throng. Brandon does return for that court obsolescent, but bolts
when she's called under her female persona and returns to Falls
City, where she's soon identified by local cops. When her true particularity
is revealed, Lana remains true, but John and Tom are hell decided on
revenge against the in the flesh they perceive as a idiosyncrasy, first raping
and when all is said murdering her and one of their own.
This is harsh stuff, but well worth seeing. The filmmakers inject
an almost poetic quality to their filmmaking, with the smudgily
seductive Lana shot in glorious reds and golds against the cool
blues of Nebraska evening horizons. The screenplay presents Brandon
as a rare androgynous creature, almost as fantastical as a unicorn
(one woman says Brandon must 'come from a beautiful place'). Brandon
and Lana make love under the stars in an otherworldly scene while
maintaining believability that Lana wouldn't discover Brandon is
a woman.
Hilary Swank owns the film with her too eager smiles begging to
be liked mixed with a strange confidence defending woman from roughnecks
in bars. She modulates her voice perfectly and bears an uncanny
resemblance to the real Brandon Teena. Support is also first rate
beginning with Chloe Sevigny's Lana, who acts toughened as a condition
of her character's environment - she softens considerably when alone
with Brandon. Alicia Goranson also makes a strong mark as Candace,
the secondary woman to be 'betrayed' by Brandon. Peter Sarsgaard
plays Tom as one of those people who's hair-trigger presence makes
one nervous, yet he shows complexity in the character - there's
a back story felt. Jeannetta Arnette is a unique mom character -
more concerned with denying her age, she offers true support only when
it's too late. Somewhat less successful are Brandon Sexton III as
Tom, who appears to be little more than John's sidekick and commentator
and Alison Folland ("To Die For") as Kate, another of the Falls
City group who makes little impression.
The low budget "Boys Don't Cry" derailed a Drew Barrymore project
on the same subject. While I like Drew, it's impossible to imagine
anyone but Swank embodying Brandon Teena so richly.
George Clooney finds his second terrific role in a row with Archie
Gates. His grizzled cynicism and sarcastic rebelliousness are well
mixed with inate intelligence and bravery. Mark Wahlberg's Barlow
earns the respect given him by Vig for entirely different reasons.
Barlow's taken hostage by the Iraqis and submitted to torture yet
comes to empathize with their predicament and question his own government.
He's yearning for his young wife and baby at home (whom he calls
when he finds a cache of cell phones in an attempt to be rescued).
Ice Cube is the spiritual member of the group as Elgin, the most
grounded. Spike Jonze's Vig is hilariously dim as the uneducated
red neck ('Like the cubes you put in soup?' he asks Gates when Archie
tells of the Kuwaiti bullion stored in their map's bunkers).
Fine support is given by Nora Dunn's ambitious reporter, Mykelti
Williamson's no nonsense, policy abiding Colonel Horn and Jamie
Kennedy ("Scream") as Walter, another dimwitted soldier who Gates
assigns to distract Cruz.
Cinematography by Newton Thomas Sigel ("Apt Pupil") is stunning,
with the intial part of the film shot in Ektachrome, a stock normally
used for still photography, and processed using a technique called
bleach bypass, which leaves a layer of silver on the negative. This
produces a strange look where nothing appears quite real - a highly
effective device to highlight the alien nature of the characters'
surroundings. Special effects, such as the camera following a bullet
through the human body or the characters' memories, shown in cartoon-like
fashion, are eye popping. Locations in Arizona and Mexico combined
with Catherine Hardwicke's ("Tank Girl") production design recreate
the Iraqi terrain. The soundtrack is inventively chosen. The surreal
quality of the whole package often recalls "Apocalypse Now."
"Three Kings" is dynamic collaborative filmmaking and one heck of
a yarn.
The production values are outstanding on all levels. There are the
normal and expected kick-ass fireworks as cows are blown up, Humvees
destroyed and with shootouts galore. There are also highly technical,
in your face effects as Archie explains to his battleground novices
just what happens when you get shot. You get an inside view of a
bullet entering the human body and doing its lethal damage. This
effect is later used when Sgt. Troy takes a bullet himself and has
a lung collapse. It's a vivid, graphic depiction of the horror that
war intrudes on the individual. Photography, by Newton Thomas Sigel
("The Usual Suspects") is innovative and looks great. A process
called bleach bypass was used in developing the film, giving it
colorless hard edge that lends a surreal quality to the finished
product.
The acting by the principles and supporting cast is uniformly solid.
It's a true ensemble film, with secondary characters, like Amir
(Cliff Curtis) as a father and rebel who just wants his little girl
to live in freedom, given three dimensions to work in. The stars
are believable, with Mark Wahlberg getting the meatiest role as
Sgt. Troy, a new daddy who just wants to go home to wife and baby.
Clooney, Ice Cube and newcomer Spike Jonze give yeomen's efforts
to their solid performances. Nora Dunn, as CNN-style correspondent
Adriana Cruz, gives a rich and sensitive performance as a reporter
who believes in her work and is emotionally affected by the horrors
she sees.
You don't often get a film that is the caliber of "Three Kings."
You get the roller-coaster ride you expect and a heck of a lot more.
It's a treat when you think you're going to get a no-brainer and
have your mind expanded a little bit. Go see it for the effects,
action and treasure hunt story, but enjoy the intelligence, too.
I give "Three Kings" an A-.
Farnsworth is a veteran actor who can convey deep levels of emotion
in a very quiet, unprepossessing way. He handles the conflict of
promoting family (while on the way to repair his own stubborn disassociation
from his brother) with his eyes. He's a kind, decent, simple man
who affects everyone around him, yet never seems saintly (watch
how he handles two brothers who repair his mower or the agony of
telling a stranger how his). own friendly fire killed a friend in
WWII). Look for Oscar consideration next year for this performance.
Oscar winner Sissy Spacek's career has been rejuvenated lately in
supporting roles ("Affliction"), and her Rose is no exception. She
speaks in an oddly halting voice and has trouble discerning the
difference between literal conversation and joking (we learn from
Alvin later that she's considered 'slow,' although he refuses to
believe that). Able support is provided by a cast of relative unknowns
(many, Lynch regulars) who never seem anything other than the country
folk they're portraying.
The film is gorgeously photographed, with fields of rippling wheat
surrounding the long narrow highway Alvin travels, by Freddie Francis
("The Innocents," "The Elephant Man"). Lynch regular Angelo Badalamenti's
score is unmistakeable (often recalling "Twin Peaks" a bit too much).
Mary Sweeney's editting suits the laid back approach to the story,
yet surprises at the appropriately higher decibel, Lynchian moments
(a woman strikes a deer with her car in front of Alvin - Lynch has
a thing for car accidents - and then rants about how she's killed
fourteen deer in the past seven weeks; Alvin loses control of his
mower racing downhill as a small town fire department is on a practice
run putting out a burning old homestead in the background).
"The Straight Story" concludes with grace - Alvin does find his
brother and only the most necessary words are spoken (although Harry
Dean Stanton is an odd casting choice as Lyle - he doesn't look
anywhere near enough Alvin's age and there's no physical resemblance).
While this movie isn't a masterpiece like "Blue Velvet," it may
very well be Lynch's most personally felt film to date in a career
I anticipate watching for years to come.
Richard Farnsworth is the strong suite here as the aging actor and
former stunt man conveys how it feels to get old. It's not the fear
of age or death, but the possibility of infirmity that makes growing
old hard. At one point, when asked about what it's like getting
old, Alvin responds: "The worst part about being old is remembering
being young." Farnsworth's craggy features, rheumy eyes and cane-assisted
gate lend a realistic and human quality to Alvin. The actor has
always been a favorite of mine since his debut in the 1982 film,
"The Grey Fox." In "The Straight Story," he continues to show his
acting ability as he fleshes Alvin into a compassionate, but stubborn,
man and a loving father who deeply cares for his slightly retarded
daughter, Rose. The performance may not be Oscar worthy come year's
end, but it is a solid, sensitive job by the elder actor.
Besides Lynch's capable direction, there is an elegance to the look
of the film that is brought forth by veteran cinematographer Freddie
Francis ("Glory"). Francis captures the beauty of the windblown
fields, majestic sunsets and the golden hues of fall in the mid-west
with a quality approaching still photography. Other tech aspects
are solid but not outstanding.
Unknowns and just plain folk populate the supporting cast. Only
Sissy Spacek, as Rose, stands out in the small role as Alvin's birdhouse
building, daughter. It is yet another supporting role where Spacek
shows her recently renewed acting mettle.
"The Straight Story" is, really, a pretty conventional story (about
an unusual man), but David Lynch's touch is evident and lends his
offbeat air to the proceedings. It's a nice story about human will,
generosity and family. I give it a B.
Shannon is a hoot as the irrepressible Gallagher and newcomer Laybourne
gets some real comic spin on her brace-wearing Helen (the two go
into a Super Model Documentary fantasy when bored in Church that
gave me a fit of the giggles). Will Farrell is clueless as Sky and
also shows up as Mary Katherine's version of Jesus. The rest of
the cast is merely fair or worse. I found any scene with Johns to
be dull and MTV's Canadian eccentric Tom Green, whose show I love,
just distracts and make an ass out of himself.
Director Bruce McCulloch keeps things moving along, not difficult
to accomplish with an under 90 minute run time. "Superstar" is unlikely
to find much of an audience outside of fans of its lead character,
but it does provide a smile or three.
Schrader's done a great job translating this material to the screen
almost entirely intact, making it more cohesive. Scorsese uses some
flashy techniques (fast forwards, etc.) to surrealize the action
and mixes the drama with humor in just the right dose (the medics
receive radio calls for demonic possession and an elderly woman
with cockroaches in her ear). In one outstanding scene, Frank goes
in to rescue Cy (Cliff Curtis, "The Piano"), a drug dealer who's
supplied Mary with fixes and is now impaled on a balcony railing
after a deal gone bad. As police torch the iron while Frank keeps
hold of Cy's now human shishkebab, Cy watches the welding sparks fly against
the NYC skyline and proclaims it beautiful.
"Bringing Out the Dead" may not be a masterpiece, but it's assuredly
the work of a master filmmaker.
B+
