If Fantasia failed to spark a hoped-for entertainment revolution, its achievement is all the more starkly singular. A joyous experiment in pure animation, an ambitious work of imaginative power, a showcase of cutting-edge technique, and a celebration of great music, it is without precedent and without rival. I’ve watched it far too many times to count, and I have yet to begin tiring of it.
If it were only predictable, syrupy, and overlong, The Family Man might still be worth watching for the appealing performances from Leoni and Cage. Alas, its problems are more deep-rooted than that.
“The story of a boy and his dog,” writes one critic. “Close Encounters for kids,” writes another. Still others focus on the Christological resonances, particularly in connection with another messianic sci‑fi film, The Day the Earth Stood Still, with its peaceful visitor from the heavens who dies and rises again.
Watching Erin take on corporate ruthlessness and professional apathy, I often felt that while I couldn’t always condone her choice of words, I appreciated the spirit behind them — not to mention the effect they had on her hapless victims. This movie makes you feel that one person really can make a difference; especially since it’s based on a true story.
The film may be said to be largely faithful to the book, in the sense that the great majority of scenes are adapted more or less as they were written. But this is like saying that the character of Sarah (Julianne Moore) is largely faithful to her husband Henry (Stephen Rea) because the great majority of her time she isn’t sleeping with her lover Bendrix (Ralph Fiennes): the betrayal is crucial, and gives the lie to the supposed fidelity of the rest.
The Dish is closer in spirit to gentle British and Irish comedies like Waking Ned Devine and The Matchmaker than more characteristically edgy Australian comedies such as Strictly Ballroom, Muriel’s Wedding, and Priscilla, Queen of the Desert. Sam Neill, leading the Australian cast, sets the tone; his deliberate, relaxed performance as Cliff is at the center of the film, as he plays Andy Griffith to the residents of this down-under Mayberry.
Along with Star Wars and Raiders of the Lost Ark, John McTiernan’s Die Hard defined a generation of action-adventure movies.
Guinness makes a delightfully enjoyable Father Brown, and the film’s dialogue sparkles with flashes of Chestertonian wit. … Alas, this well-intentioned and otherwise enjoyable film is marred by several serious missteps.
Tim Robbins argues his point fearlessly, not taking the easy way out, not stacking the deck by emotionally manipulating the audience, but instead taking a worst-case scenario: Rather than giving us a murderer who isn’t really so bad, merely misunderstood and mistreated and so forth, Robbins gives us a thoroughly revolting individual, one who spouts racist propaganda not because he believes it but simply because it is shocking and antisocial and hateful; who tries to humiliate the one person interested in his welfare with leering come-ons aimed at her consecrated chastity.
The bishop (Basil Ruysdael) is a decent enough chap, sympathetic to the sisters’ mission but daunted by the practical difficulties. As their cause goes forward, however, he begins to suspect that what’s driving them is an irresistible force before which there is no known immovable object: "There hasn’t been for 2000 years."
Real chickens, I have it on expert testimony, are homebodies who do not actually pine for freedom, as do the heroines of Chicken Run. Whereas these poultry-farm prisoners plot and scheme endlessly to contrive by any means necessary to get under, over, or around their chicken-wire prison wall, my wife’s hens actually perch atop the five-foot fence that surrounds our back yard. They are quite capable of escaping, but have no interest in doing so.
In a way, the obnoxious tell-all trailer for Cast Away gives away more than the film itself. That trailer, with moronic thoroughness, reveals the film’s set-up, the crisis, the hero’s ups and downs, his triumph, the climax, and the denouement. What it doesn’t let on is that the movie itself won’t tell you what to think or how to feel about what happens, even at the end. The trailer is typical Hollywood feel-good, inspirational fare; the story in the film is rather more ambiguous and challenging.
Pre-DecentFilms capsule review
The shadow of September 11 will not always hang over the movies, but as I watched Ridley Scott’s Black Hawk Down it seemed to be everywhere: an ominous column of smoke rising from a city skyline; people watching helplessly via video screens as a catastrophe unfolds before their eyes in real time; enemies striking an unexpected and terrible blow that seems to be as bad as anything can possibly be — followed by a second, equally terrible blow.
In the end, when the parents realize all their son went through to win their trust, they can’t help but be proud of him. Another touching Hallmark moment brought to you by a Hollywood committee, none of whom has any children or parents of their own, or knows anyone who does.
The malleable, plastic vision of human nature in general and of sexuality in particular, in which gender and relationships shift and merge and re-form like blobs of goo in a lava lamp, represents a profoundly anti-human fantasy and an affront to personal dignity.
Peter O’Toole roars magnificently both in laughter and in rage; his Henry is a simple, direct, utterly unprincipled man who sees the world in two great categories: (a) things he wants, and (b) obstacles to getting them.
Here is the closest thing to a positive statement I can make about Battlefield Earth: Although it is an adaptation of a novel by L. Ron Hubbard, the founder of the sect of Scientology - and although it stars John Travolta, one of Hollywood’s most high-profile Scientologists and a long-time champion of this project - Battlefield Earth is not a cryptic tract or allegory of Scientology.
In the end, Babette’s Feast is a quiet celebration of the divine grace that meets us at every turn, and even redeems our ways not taken, our sacrifices and losses. Whatever we think has been given up or lost, God gives back in greater abundance, one way or another. It may not be till heaven that we truly become all that he intends; but his grace is here and now, whatever our circumstances, and with him all things are possible.
As an enthusiastic fan of the first Babe, I wanted to believe in the sequel, even if it did turn out to be too dark for young kids. After all, Miller was also the screenwriter and producer for the original film, directed by Chris Noonan. So I came to Babe: Pig in the City with high hopes.
Copyright © 2000– Steven D. Greydanus. All rights reserved.