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Reviews
Annapolis (2006)
Genre film with an indie take
Someone thought they knew how to sell it, and they're wring. You need to wipe the trailer out of your mind, and try this on its own merits. It's an OK plot with some good writing, mostly excellent casting and excellent directing. You can tell that they are trying for something of their own there, and the effort shows promise. Annapolis is a genre film with an indie take. I rented the DVD as a mind-number after a busy day work-shopping a new script at the theater, and quickly realized that this was not the trashy blend of Top Gun and Officer and a Gentleman that the trailers had tried to sell. The cinematography on the opening boxing sequence said it right away, but then, so did the shots on many of the other scenes. I can see from his filmography and tell from this effort that Justin Lin favors the action flicks, and his comic timing needs work, but he can shoot a dramatic sequence for me any time. And I'll be watching fr the Dave Collard credit in the future.
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)
Shame about the music
The best part of this film adaptation is the opening sequence, which gives a context to the story that is vital to its sensibility, as well as a few visuals (watch for the broken picture of the father). The photography is splendid; I wish this story could be told without CGI, but it can't, and that ruins some of the photography. The score, however, is mawkish, prescriptive, and sentimental, and comes close to killing the joy of the story itself. And who had the bright idea to commission something from Ms. Morrisette for the final credits? Not the sharpest knife in the drawer, whoever it was. This mania for getting pop stars to write anthems for large budget films must stop. It's damaging to both fields of endeavour.
The Interview (1998)
Brilliant!
This is auteur quality on a first feature. The cinematography is first-rate, although one does tire of the look-up, look down camera moves. Hugh Weaving is brilliant, and well-matched by Tony Martin. In fact, the entire cast is having more fun working on this one than is quite legal for a feature. The double twist provides for both second and third act rhythm, so although this feels like a shorter film, it works as a full-length. Editing rhythms are highly integrated with the full premise. The script is sufficiently intelligent to keep one gripped by the "what's happening?" syndrome. This film deserves a second, post 9/11 look for what it says about assumptions in investigations and the law. I would not be surprised to see a Hollywood remake using a terrorist instead of a serial killer. Cast Denzel as the Islamic terrorist (Or Molina, better yet, for that undefinable ethnic look), and (if Denzel) Morgan Freeman as the cop, or (if Molina) Alec Baldwin as the cop. Gene Hackman gets my vote for the Detective Inspector working for the "ethics commission," or for the Americans, the IAB. None of that is needed, however, since the film works very well as it is. But since when has that stopped the Americans? Bravo, Craig Monahan, and if you write for the theatre, send me your stuff!
Soft Fruit (1999)
Metaphorically rich and affecting
The performances are fabulous, but what really makes this movie special is the care which has been taken to build a symphony of metaphor in the relationships in this family. Clearly done from a woman's point of view (the men can't cope, and all that's needed is for the father to reunite with the son), this piece still goes beyond the usual chick-flick tear-jerker to keep you involved with fascinating metaphors and unlikely characters which nonetheless tell the truth. I am appalled that it has yet to receive distribution.