Director David Mirkin
At least eight of Stephen King’s works have been optioned for film and television productions by 2002. In fact, since Brian De Palma directed “”Carrie”” back in 1976, Hollywood has plundered King’s words, ideas and characters for approximately sixty-four different projects, sometimes with great success (“”The Shawshank Redemption,”” “”Stand By Me””, “”The Shining””), but oftentimes not (“”Cujo,”” “”Maximum Overdrive””).
“”Hearts in Atlantis,”” the scribe’s latest story to receive the big screen treatment, actually bears a strong resemblance to “”Stand By Me,”” another film adaptation of a King short story. Directed by proficient directors (Scott Hicks and Rob Reiner, respectively), both tackle the loss of innocence through distictive rights of passage. But whereas “”Stand By Me”” lucked upon four gifted actors who happened to by children – Wil Wheaton, Jerry O’Connell, Corey Feldman and the late River hoenix – “”Atlantis”” relies on real children who are not yet actors, and the weighty material slips in their tiny hands. Screenwriter William Goldwin adapts “”Atlantis”” from the King novel of the same name, though he works primarily from the book’s first story, “”Low Men in Yellow Coats.”” The low men in question are shadow-dwelling scoundrels who pilot gaudy automobiles and are currently pursuing Ted Brautigan (Anthony Hopkins), an old man who incidentally just moved into the apartment above young Bobby Garfield (Anton Yelchin) and his overprotective widowed mother, Elizabeth (Hope Davis). Ted’s bizarre mannerisms and too-polite demeanor immediately rouse Elizabeth’s suspicions, but Bobby likes him well enough, and soon the old man recruites him for a series of tasks. Most importantly, he wants Bobby to keep an eye open for Ted’s low men. Bobby eagerly agrees, but even he is starting to doubt Ted, who’s prone to repeatedmental lapses. In fact, Ted’s prone to much more than that. He possesses the power to “”see things”” others can’t see, and he can pass that ability on to another through human contact. Once, he inadvertently passes it on to Bobby, who uses to it clean up during a rigged game of “”Find The Queen.”” It’s this power that has the low men salivating, and has Ted on the lamb. Bobby desperately wants to help his new friend, but it is the summertime, and he’s easily distracted, shaging flies with his best friend Sully (Will Rothhaar) or locking lips with his pretty little girlfriend, Carol (Mika Boorem). When signs of the low men begin to appear, Bobby ignores them, half convinced Ted is mistaken but also confident his friend will leave if he knows danger is near. Ted eventually realizes that the low men have arrived, but by then it’s practically too late for him to do anything about it.The material is strong, but this production feels rushed, perhaps in an effort to include all the elements of King’s enchanting tale. A sleepy-eyed Hopkins trips and murmurs his way through, occassionally coming off as a pedophile who leers at Bobby and his friends with his mouth ajar. Instead of a peer, as he was in the book, Hopkins’ Ted is a wise old sage who has plenty of anecdotes, but no legitimate reason to hang out with children. And the kids themselves, who obviously know they’re very cute, recite thematerial with forced enthusiasm. Yelchin is particulary guilty of piling it on, and as a result, almost none of Bobby’s lines ring true. As he did with David Guterson’s “”Snow Falling on Cedars,”” Hicks filters a best-selling author’s beautful prose through his camera’s lens with lifeless results. He does a very good job maintaing the mystery surrounding the low men, though the screenplay goes too far, suggesting a motivation never addressed in the novel (and rightfully so).Hicks’ strongest contribution still lies in his ability to capture locations through his lens. “”Atlantis'”” dreary Connecticut suburbs are appropriately sullen and gray and they frame the story as well as the wintry landscapes did in “”Cedars.”” Hicks joins the ranks of directors unsuccessful in carrying King’s mystic prose to the screen, but he’s in the good company of Bryan Singer (“”Apt Pupil””), Taylor Hackford (“”Dolores Claiborne””), David Cronenberg (“”The Dead Zone””) and John Carpenter (“”Christine””), all of whom have gone on to better things.Grade: CBy Sean O’ConnellSept. 28, 2001
James Patterson, why have you forsaken us? After crafting one of the finest “”paperback”” heroes of our time in Dr. Alex Cross – an urban soldier who personifies Washington D.C.’s gritty streets, its beating heart – and penning a series of gripping police detective novels surrounding him, you allow Hollywood to bastardize your words, to twist your ideas into pulp?
For various reason, casting being one of them, “”Kiss the Girls”” was bad. But “”AlongCame a Spider”” is downright insulting to the assumed intelligence of a Patterson reader,though not of a paying theater-goer, it seems.In his second go-around as the character, the miscast Morgan Freeman (Cross is not this old, people!!) plays D.C. detective Alex Cross, on the psychological mend after losing a partner in a blown sting operation, (quite possibly the worst special effects sequence of this or any other year, and yes, I did sit though “”The Mummy Returns””). Cross isn’t out of work long before a criminal mastermind, Gary Soneji (Michael Wincott), draws into his self-made web of deceit. Soneji pulls off what he considers to be the crime of the century, the abduction of a Senator’s daughter named Megan Rose (Mika Boorem), and he invites Cross to match wits with him in what promises to be an elaborate game of cat-and-mouse with the girl’s life on the line.But the game never kick starts. Cross, in an act of pity, teams with lovely Jezzie Flannigan (Monica Potter), the Secret Service agent assigned to protect the girl, and the two begin the methodical – yet dull – procedure of cracking the case. Cross finds clues others can’t, implying he’s a genius, but he overlooks obvious errors that would derail this production until the end, when all can be revealed. By then, the screenplay has thrown a fair amountof (pardon the pun double-crosses at us, each one more illogical then the next.Save for the character names and the most basic plot elements, “”Spider”” fails to follow Patterson’s exquisite novel, instead relying on tired formulas and played-out twists. Freeman brings his usual professionalism to the role, and I’ve even grown to accept his age as part of the cinematic Cross (though the character in the book will always remain younger, leaner and meaner). Next to him, Potter can’t even carry Cross’ shoulder holster. And Wincott brings a sedated evil and inflated confidence that makes Soneji an exceptional villain. When Cross, at one point, reverts to standard procedures for a hostage situation, Soneji appears hurt, insulted at the thought that Cross would attempt such a pedestrian approach. Audience members should feel the same way about this film.Grade: DTHE EXTRAS“”Spider”” presented in glorious widescreen, does convert well to the digital format. The sound isn’t ear-blowing, but the levels are clean and clear. You’ll appreciate the ability to watch the intro sequence over and over again, to marvel at the laughably poor quality of the effect.Aside from the feature, Paramount has included a “”Behind The Scenes”” featurette that’s padded with clips from the film and brief interviews with the cast and Patterson himself. Lord, how I wish this puppy were interactive. I have one or two questions for Patterson I’d like to ask, before the studios butcher another one of his tremendous Alex Cross books.Final Grade: D+
THIS CONTEST IS CLOSED!!!!!Be the first to see Touchstone Pictures, “”Who is Corky Romano?”” starring, Chris Kattan (“”Saturday Night Live””). The screening will be held in Washington, DC Thursday October 11, 2001. To qualify to win simply read the synopsis below and follow the instructions. We will notify the winners at random, Monday, October 8, 2001. The film is rated R and no one under 17 will be admitted without a guardian. “”Who is Corky Romano?”” opens on Friday, October 12, 2001.
Good-natured veterinarian Corky Romano is stunned when he receives a surprising call from his long-lost father “”Pops,”” an underworld crimelord who has been indicted by a grand jury. With his trial just two weeks away, it looks as if the Mafia kingpin is finally going down. However, he still has an ace up his sleeve. Pops realizes that the one person who can turn the tables and infiltrate the FBI undetected – and abscond with the evidence against him – is Corky, who was banished from the family at a young age for not fitting in. Corky is only too happy to help his newly rediscovered relations, and his brothers intimidate a computer hacker into creating a fake resume to get Corky into the FBI. But the hacker panics and goes overboard, making Corky appear to be a super agent, a repuation that he must live up to.Starring: Chris Kattan Vinessa Shaw Peter Falk Richard Roundtree Chris Penn Fred Ward Matthew Glave Roger Fan Dave Sheridan Jennifer Gimenez Director: Rob Pritts Producer: Tracey Trench Robert Simonds Screenwriter: David Garrett Dave Garrett, Jason Ward Cinematographer: Steven Bernstein Composer: Randy EdelmanCONTEST RULESStep 1 – Non members must create a user account. Once your account is created you will automatically be entered into the contest and will be registered to receive our weekly newsletter. All current members are automatically registered in the contest and do not have to re-register.Step 2 – On Monday October 7, 2001, look for our weekly newsletter it will contain further instructions on how to win. Ok, with all of that said, to register THIS CONTEST IS CLOSED CLICK HERE
Such a fun movie. So pure, so adolescent, so intelligent and never condescending. Such a meager DVD. So barren, thin and pedestrian. How could Dimension let this happen? As bizarre as it seems, it makes sense, with a little explaining.
In March, “”Spy Kids”” burst into theaters, roared to the top of the box office charts, and stayed there. The film’s whimsical blend of intrigue and pubescent excitement attracted audiences of all ages, introducing them to two pint-sized child stars on the rise, Alexa Vega and Daryl Sabara. The children play Carmen and Juni Cortez, feuding siblings who must work together when they learn that their parents, who lead double lives as secret agents, have been kidnapped. Informed by their Uncle Felix (Cheech Marin) of their parents predicament, Carmen and Juni take matters into their own technologically-equipped hands and set out to rescue their mom and dad from the hands of Fegan Floop (Alan Cumming), the wicked host of a children’s television show who plans to take over the world using an army of robot children, dubbed “”spy kids.”” Considering his filmography, which ranges from the gory (“”From Dusk Til Dawn””) to the gritty (“”Desperado””), Robert Rodriguez appears an odd choice for a children’s adventure, but the material couldn’t be in better hands. The usually bare-bones director brushes up on his technical skills, matching the staggering amount of heart found in all of his films with eye-popping special effects and inventive devices. Rodriguez also never forgets his material. Part of the film’s charm is Vega and Sabara’s remarkable ability to behave like actual children when another flick might have mistakenly force-fed them adult lines. Their innocence establishes the film’s pervasive mood, and Rodriguez just punches up the requisite filler. Grade: B+ THE EXTRAS Here’s the catch: anticipating a future “”Special Edition”” DVD, the current “”Spy Kids”” disc offers very little besides the film. Not that the film isn’t worth it. It is, and the digital transfer ranks high (though the sound is a little flat). Still, save for the trailer and a few kid-friendly promotional plugs for Miramax features, there’s nothing here. Grade: D- OVERALL EXPERIENCE Just because Buena Vista plans a “”Special Edition”” DVD doesn’t excuse the studio for trying to profit from their successful film. “”Spy Kids”” surely has an immense fan base, but I’m sure they could have waited for the better-quality disc to come out. Now that Blockbuster and the like are stocking up on current DVD titles, “”Spy Kids”” suddenly ranks as the best rental available, but don’t buy it until the more comprehensive DVD comes out next year. Final Grade: C- Reviewed by Sean O’Connell
Vladimir Nabokov’s vision of a chess genius and his lover, mapped out against a luscious European backdrop by director Marleen Gorris, becomes a flawed, flat film.
While vacationing with her haughty mother at a luxurious Italian resort, Natalia (Emily Watson) meets and falls for eccentric, virtuoso chess player Alexander Luzhin (John Turturro), who’s competing in the world tournament. Despite their obvious differences, she works hard to make Luzhin the marrying type. But Luzhin’s mental demons eventually surface, threatening to shatter their relationship and his own fragile mind.Strong performances by Watson, Turturro and Alexander Hunting – a dead ringer for Turturro who plays the young Luzhin in flashback sequences – are diluted by numerous clich
“”Exit Wounds,”” the resurrection vehicle for one-time action hero Steven Seagal proves once again that star producer Joel Silver (“”The Matrix””) really can morph crap into gold. In all honesty, the hard-hitting “”Wounds”” could be Seagal’s finest film ever – for what that’s worth.
After single-handedly preventing an assassination in the film’s explosive opening, renegade cop Orin Boyd (Steven Seagal) receives a demotion to Detroit’s seediest precinct. Instead of fitting in, Boyd uncovers a web of corruption involving confiscated heroin that goes right up his chain of command. And at the center of the crime ring is Latrell Walker (rap superstar DMX), an Internet mogul and the only man Boyd can trust. Eager to please, Seagal does everything shy of rising from the dead in the ultra-violent “”Wounds.”” More superhero than man, the newly slim (well, slimmer) actor destroys helicopters, evades hand-held power saws and dodges bullets. But he also takes anger management classes, effectively ushering the “”tough guy”” role into the new millennium. What we’re left with is an aging action star with more charisma then Sly, but less magnetism then Arnold. Seagal’s resurrection might not last longer then this film, but “”Wounds”” manages to be a superior successor to the testosterone flicks of the 1980s. Grade: BTHE EXTRASConsidering the stylish direction behind “”Wounds,”” I was surprised to see director Andrzej Bartkowiak skipped out on providing a commentary. Still, you can learn more about the film’s production via a “”Behind The Scenes”” doc. The “”Wounds”” disc also gives props to co-star DMX’s alternate career by presenting the artist’s “”No Sunshine”” music video.The DVD’s third feature, entitled “”A Day On the Set With Anthony Anderson,”” may be a bit tougher to sit through. Anderson’s raunchy humor, delivered at the highest decibels, is an acquired taste. He serves up some punchy jokes over the film’s credits (with co-star Tom Arnold), but here he’s best taken in small doses.The rest of the disc is packed with promotional material, including the film’s theatrical trailer.Grade: C+OVERALL EXPERIENCEIf you enjoyed the movie, “”Wounds”” is a good buy. The extras don’t make it a necessity, but the film is entertaining enough. In the long line of Seagal “”thrillers,”” this one ranks high on the list, and could even win over non-fans who gave up on the kicker after “”Under Siege.””Final Grade: B
Glass House starts with a fairly routine premise, sports the stylish, almost clinical look of the typical “”Danger Right Under Your Nose”” thriller, yet never crosses the threshold into the realm of predictability. While far from original, it does side-step plot holes that I thought would inevitably swallow up the entire production. Instead it arrives, somewhat jostled – but intact to its inevitable conclusion.
And it’s delivered safely by young Leelee Sobieski, a bona fide star on the rise. Earlier roles in “”Here On Earth,”” “”Never Been Kissed”” and Stanley Kubrick’s “”Eyes Wide Shut”” have had the angelic beauty braving cancer, geekdom and a libidinous Tom Cruise, in that order. “”House”” allows her to let her board-straight hair down and act like a teenager, quite possibly for the first time in her professional career. Ruby Baker (Sobieski) could be the model teenager. Her life revolves around her girlfriends, she sneaks cigarettes while cruising the Strip, she loathes her meddlesome younger brother, Rhett (Trevor Morgan), and she has the type of parents (Rita Wilson, Michael O’Keefe) that are too casual and understanding to be true. Her world is put on hold, though, when Ruby returns home one evening to learn that her parents were killed in a car accident after celebrating their 10th anniversary.The Bakers’ will stipulates that Ruby and Rhett are to live with Terry and Erin Glass (Stellan Skarsgard, Diane Lane), the family’s longtime neighbors who have since moved to a plush Pacific hideaway in Malibu. Not parents themselves, the Glasses successfully attempt to buy Rhett’s love with Nintendo and flashy gizmos throughout the house. Ruby, however, is slow to warm to her new guardians, and with good reason. The suspicious couple barely disguise the fact the they’re withholding secrets. Erin sports a heroine chic glaze to her eyes that she credits to Diabetes, and Terry’s rarely without a short glass filled with vodka on ice. Ruby digs a little below the couple’s surface, and uncovers enough clues to assume the Glasses may have been responsible for her parents’ deaths and are now after the children’s $4 million inheritance.Like any decent thriller, “”House”” keeps its cards close to its vest as long as it can. Terry and Erin’s abnormal behavior is explained with flimsy, but feasible, reasoning, and Ruby’s various attempts to solicit help from outside parties are foiled, though not through any clever devices. However, a running subplot and countless references to Shakespeare’s “”Hamlet”” continuously remind us that something, indeed, is rotten in the state of the Glass house before the film drops its veil and gives way to being a straight-shooting revenge drama.TV director Daniel Sackheim relies heavily on old-fashioned tricks to conjure up a commotion and establish mood. It rains more in this film than it has in southern California this entire year. When not doctoring the picture’s pitch, Sackheim slings strangely perverse material at us. We’re treated to PG-13-testing shots of Leelee in her bra and bikini as she swims at 3 a.m., all so lecherous Terry can ogle her as only a foster father can. It’s strange, not because the film tries to get its attractive lead into skimpy outfits, but because Sobieski allows it. Having already established herself as a talented, classy actress, this just seems like a minor step backwards. Most of “”House”” feels silly. When the long-lost uncle (Chris Noth) introduces himself at the parents’ funeral, you know he’ll turn up later, but when Ruby finally calls him for help, he’s out of the country. And the gifted Lane, who’s itching for that breakout role, does very little with the chemically-dependent money whore Erin, a character that could have been a carnival ride of emotions for the right actress. Still, “”House”” holds your interest, thanks to Wesley Strick’s surprising screenplay, which earns points for avoiding what I originally thought to be obvious foreshadowings and unavoidable cliches. One thing I couldn’t get over, though, was the blatant corporate product placements. Perhaps doubting Sobieski’s ability to open her own film, “”House”” obviously took on some sponsors to guarantee a little up-front cash. So when Terry drives his silver Jaguar while under the influence of Kettle One vodka (his drink of choice), you can be sure Ruby is going to e-mail somebody about it from her IBM laptop. Shameless. Grade: C-
As a result of the tragic events that unfolded in New York on Tuesday, several upcoming Hollywood productions were postponed, altered or canceled. Here’s a short list of the moves Hollywood made after the terrorist attack on the World Trade Center:
– Teaser trailer for Sony’s “”Spider-Man,”” which features the hero stringing bank robbers up on a web between the Twin Towers, has been pulled from theaters and the Web. USA Today reports that the filmmakers also will airbrush the buildings out of the final film.- Tim Allen’s comedy “”Big Trouble”” has been rescheduled for 2002, based on a subplot involving a character who sneaks a bomb onto an airplane.- “”Collateral Damage,”” Arnold Schwarzenegger’s latest about a fireman who loses his wife and son in a terrorist attack, has been postponed indefinitely. – Ed Burns’ (“”She’s The One””) romantic comedy, “”Sidewalks of New York,”” reportedly has been moved back from September until November.- An upcoming Jackie Chan film, “”Nosebleed,”” is being altered as a result of the attack. The original concept involved Chan as a window washer at the Trade Center who foils a terrorist’s plot to blow up the Statue of Liberty. The plot will be re-worked.The television industry also made some major moves as a result of the attack. The Emmy’s, scheduled for Sunday night, have been postponed. And Thursday morning, NBC announced that they will delay the launch of their Fall Television schedule, and urged the other networks to so the same.– Sean O’Connell
“”Hardball”” might have been a decent movie, if it wasn’t so racially insensitive, monotonous, stale, insulting and completely predictable. In the spirit of the film’s cliched screenplay, I’ll try and describe this mess using as many baseball catchphrases as possible.
For starters, author Daniel Coyle lobs a sure-fire screenplay based on his nonfiction novel,
At the conclusion of Jonathan Demme’s benchmark thriller “”The Silence of the Lambs,”” Dr. Hannibal “”The Cannibal”” Lecter hangs up the phone on Special Agent Clarice Starling to, as he so eloquently put it, have an old friend for dinner. It’s a delicious, open-ended conclusion that invites us to fill in our own blanks, as this vicious killer we’ve just spent two hours digesting walks freely into the sunset, like a post-modern cowboy who’s managed to outwit the law once again. Where would he go? What would he do? Who would he eat? Unfortunately, “”Hannibal”” answers many of those questions, robbing Lecter of some of his mystery in an effort to ring a sequel out of a Hollywood classic.
We learn, though not immediately, that Lecter has established a life for himself in Italy, drawing on his extensive knowledge of classic art to earn status points with the local intelligente. Indeed, Lecter lives a somewhat civilized life amidst the ruins of Florence, undetected (though he brazenly sports no disguise) and quite content.Until Mason Verger (Gary Oldman, unable to act under a pound of makeup), the horribly disfigured sole survivor of a Lecter attack, concocts an elaborate plan to lure the good doctor out of (gasp!) retirement, a plan that involves Lecter’s prized pupil, FBI Agent Clarice Starling (Julianne Moore).””Hannibal”” works from Thomas Harris’ beach read of a novel, but feels incomplete right off the bat, since both Jodie Foster and Demme passed on this second helping replaced by Moore and “”Gladiator”” director Ridley Scott. The changes, and Harris’ book itself, completely alter the story’s focus off of the pressed up heroine (Starling) and onto the shoulders of the vicious killer (Lecter). It’s awkward, as we, the audience, are now asked to relate with a relentlessly cold cannibal, instead of the vulnerable pursuer. Scott’s flashy style and scratchy camera effects also differ from Demme’s assured approach. Starling’s character barely misses a step in the transition between actresses. While I would have preferred Foster for continuity’s sake, Moore makes the most with what’s really a minor supporting role. What prevents “”Hannibal”” from being a great movie is Harris’ material, which felt so half-hearted as a book that the emotion, or lack of it, carries over onto the screen, no matter what Hopkins, Moore and Scott try. For the film’s first quarter, the Italy-based Lecter appears as terrifying as a grandparent vacationing off the coast of Tampa, Florida. Verger’s “”ingenious”” plot to nab Lecter disintegrates in the film’s first lackluster finale, which just sets up a drawn out dance between the cannibal and the agent that’s gruesome, unfulfilling and bound to pick your brain for days. Don’t get me wrong. I’m all for the return of Hannibal Lecter. Modern cinema has yet to produce a more sinister villain. But either dream up something for him to do the next time you drag him out of his resting place or leave him be.Grade: CTHE EXTRAS“”Hannibal”” lacks; MGM’s 2-disc “”Hannibal”” DVD does not. The studio’s disc is a classic example of a production that planned for the DVD release back during the planning stages of the film itself. The extensive five-part feature “”Breaking the Silence”” proves that, which begins with the film’s casting scandals (Foster’s in…Foster’s out…Demme’s interested…Demme’s not touching it) to it’s inevitable marketing challenges. One particularly interesting feature documents the film’s bi-coastal industry screenings in NY and LA, following audiences into theaters and actually recording their reactions to various scenes. It actually makes you feel like an insider as you sit comfortably on your couch.Producers Dino and Martha De Laurentiis, Hopkins, Moore and the cast all contribute to the extras via lengthy featurettes, but it’s Scott who pours out his soul to viewers in a number of additional sequences. The director provides a feature-length commentary, breaks down the opening fish market raid into a multi-angle analysis, proctors over almost 10 additional scenes, including an alternate ending that barely differs from the original, and narrates an in-depth look at the art of storyboarding. His above-and-beyond approach to the DVD earns the disc a final grade of…Grade: B+OVERALL EXPERIENCEThomas Harris waited ten years to revisit the atrocious Lecter, and then rushed through an inadequate novel that soften the character and turns him into more of a figurine than a figure to fear. “”Hannibal”” stays loyal to the book until the end, where it makes up some blunders of its own. The film can’t compare to the original “”Lambs,”” but it’s clear Scott never tried to. He struck out and created his own film, which falls flat on its own face. The two-disc DVD, however, is a good buy for the extras. Technically, they dissect the art of moviemaking, even if the movie they study is less than spectacular.Final Grade: C+By Sean O’ConnellSept. 12, 2001