The Shawshank Redemption - Updated (1994)

This film originated from a Stephen King novella called Rita Hayworth and Shawshank Redemption. The actress actually does play into this movie and her famed hair flip from Gilda even makes a memorable appearance. However, the shortening of the title not only simplifies things but it refocuses the film on what it is all about. You guessed it. At its core Shawshank is about the redemption of one man who would never let his hope or ardent spirit be quelled. That man is the memorable but generally unassuming Andy Dufresne (Tim Robbins).

His story began back in 1947 when he was put on trial after being acussed of riddling his unfaithful wife and her lover with bullets in his drunken rage. We see bits and pieces of what happened, but not everything. Andy quietly claims his innocence, but he is dealt two back to back life sentences in the Shawshank state penitentiary.

When he gets there initially who looks to be a pushover, not ready for the dark recesses and harsh reality that is prison life. In his typically smooth mode of voice-over Morgan Freeman as camp grifter Red recalls when he first set eyes on this man. He didn't know it then but Andy would prove to be a life changing acquaintance and he also proved to have more guts than Red was expecting.

They first cross paths when Andy comes to Red inquiring about getting a rock hammer and Rita Hayworth. Red obliges and these trinkets allow Andy to shape rocks to form a chess set. The poster goes up on his wall and others soon follow. He's a man who always strives to stay busy and he never lets his circumstances get him down.

It doesn't come easy though because the local prison gang christened "the sisters" who are used to getting their way with any inmate they cross paths with. Andy is not one such individual and he pays the price receiving beatings on multiple occasions. Still he keeps on living and ultimately makes a name for himself by providing tax advice for one of the most notorious guards. Its after this specific moment when he wins a round of beers for his mates that they begin to see the extraordinary individual in their midst. He goes by the credo, "Get busy living or get busy dying."

Following his own words to a tee Andy begins to prove his worth and earn respect as he gives tax advice to many of the prison attendants and guards. Even the hypocritical warden uses his services to keep his finances and office in order.

Andy is also transferred from doing grunt work to helping the aged prisoner Brooks in the library. It's a step up and unprecedented in the history of the prison, but then Andy is truly special. After Brooks is released and tragedy strikes his life, Andy continues to improve things. He regularly writes his representative for funding so he can get more books and his work finally pays off. He also sets up a program so prisoners and workers alike can gain the equivalent of a high school education.

As the years pass the prisoners get older and the posters change on Andy's wall from first Rita, to Marilyn, and finally Raquel. About that time a young prisoner named Tommy finds himself in prison and all the old timers like his energy. Andy resolves to get the young man an education and Tommy in turn shares some potentially life changing evidence with Andy. But it all comes to naught. The warden maintains his tyrannical reign and the defenseless Tommy is ultimately struck down.

Andy begins to lose some of his privileges as the warden begins to clamp down on him again by throwing him into solitary confinement for two months. When he gets out Andy's hope is still alive sharing with Red about his dream of someday going to Zihuuatanejo in Mexico to live in solitude. Red thinks it's all folly, but agrees to do something for him even he ever gets out.

Then during an upcoming roll call all of a sudden, just like that, Andy Dufresne is gone for good. To add insult to injury he used his business acumen to stick it to the warden who is investigated by the police. Andy has the last laugh.

After so many rejections and denials, Red finally gets his parole and he looks like a mirror of Brooks a man who grew to know the Shawshank as his only way of life. It looks pretty fast and grim on the outside now. But Red has a purpose that Brooks did not in Andy. He keeps his promise to Andy and rendezvous with his old friend.

Shawshank is a thoroughly engaging film and it works because of the performances of Tim Robbins and Morgan Freeman. Robbins acts as such a bright light despite his solemnity and subtlety. He is innocent and upright,  the perfect contrast to this prison which is a vile disgusting place full of corruption and violence. Freeman is the cynic and in many ways he stands in for the audience. He wants to believe in a man like Andy as much as us, but the world tells him he cannot initially. However, Andy proves Red and the world wrong, by redeeming what has fallen. I can never get over that because that is such a powerful message told in such a engaging way. 

4.5/5 Stars

Terminator 2: Judgment Day (1991)

Back in 1984 a strange life form came to earth in search of Sarah Connor and ultimately left a trail of destruction. It's the same terminator (Arnold Schwarzenegger) who now shows shows up in the year 1991 intent on getting the right clothes, transport and weaponry and cool shades to aid in the completion of his new mission. It's the same terminator except not really because he has been reprogrammed to protect young John Connor who will be the future savior of civilization as we know it. Right now he is a 10 year old juvenile delingquent living with foster parents. His mother the aforementioned Sarah Connor is locked up tight in a mental institution after the events in the previous film.

But there also is a second more highly advanced terminator that Skynet has sent to assassinate Connor and it becomes obvious that he is in grave danger. Both cyborgs converge on his location and he flees with the help of his new found guardian. The terminator is programmed to listen to him and over time they form a bond with John teaching him slang (ie. the famed hasta la vista baby) and perhaps more importantly that he cannot kill everyone he sees.

They go to rescue Sarah from captivity on John's bidding, but the other terminator has the same idea. The resourceful mother has plans of her own that are disrupted by witnessing her former executioner with her son close in toe. It's all very confusing as they must alert her to the real danger and escape the present dangers.

Sarah leads them out of the city to the home base of a loyal friend who can give them resources and above all weapons. She sets her sets on Miles Dyson the man who unwittingly developed the technology that would end in "Judgment Day." In a fit of vigilantism she mercilessly goes after the innocent man, for his work which would cause millions of future deaths. It takes the arrival of John and the Terminator to get her to calm down.

With Dyson's help they head to his office to destroy the prototypes for good, but they get a little company and it turns into a fireworks show complete with pyrotechnics and blockbuster explosions.

Yet again the shift-shaping, poly-alloy terminator pursues the trio once again and this time they are trapped inside of a steel works. It's a fitting locale for a desperate showdown with a wounded Sarah, battered Terminator, and a thoroughly frightened John. Some last ditch heroics finish off the futuristic assassin, but that is hardly the end of the story. John must say goodbye to his friend and probably the best male role model he's ever had. He was a faithful companion to John and he in turn came to understand why humans cry. There's just some things that cannot be expressed through words, protocol or any type of rationale. The future is still to come, but at least for the present is safe.

I am unabashed to call Terminator 2 thoroughly enjoyable, because it embraces the fundamentals of a great sci-fi blockbuster while never quite losing its human component. Perhaps we could have used more character development and less action, but the characters played by Linda Hamilton, Edward Furlong and Arnold Schwarzenegger have enough depth to make them work. In fact now they are icons by now and I can understand why. James Cameron certainly knows how to develop thematic spectacle to the enth degree and this installment is no different. This sequel is bigger and better than the original 1984 film, which is a testament to not only the special effects, but the story and characterizations. Hasta la vista Baby. Until next time anyways.

"If a machine, can learn the value of human life, maybe we can too" ~ Sarah Connor

4.5/5 Stars

Clueless (1995)

Here is a high school teen comedy that is actually quite entertaining. Based off Jane Austen's Emma, the story gets a 90s face lift. Cher is the quintessential ditsy Beverly Hills girl. She is popular, beautiful, and she knows how to dress. However, perhaps most importantly of all we learn over the course of the film that she has a heart.

Initially she loves to play the matchmaker and she takes on pet projects while trying to find a relationship of her own. In end she finds her true love sitting right in front of her all the time.

The film is propelled by a memorable characterization by Alicia Silverstone who is balanced out nicely by a young Paul Rudd. Cher's voice overs throughout the entire film work swimmingly and there is a bit of a fairy tale ending. Not to mention some sagely advice and hip jargon.

Now I know never to go for a Monet. AS IF! I'm not that clueless.

3.5/5 Stars

Dazed and Confused (1993)

This film struck me as being very reminiscent of American Graffiti. It did for 1976 Texas, what the other film did with 1962 Modesto California. It has its own share of cars, a killer soundtrack, and ensemble cast involved in all sorts of vignettes and escapades.

School's out and all that is left to do is live it up. However, as the kings of the school the seniors have it easy. They get to subject all the new freshmen to initiation. Girls just get embarrassed boys get paddled and you cannot choose your poison. You would think that all the seniors have the life that they want. After all they have friends, they have good times and all, but for some of them they do seem to realize there is something else. Of course, right now they just want to have one epic good time.

This is one of Richard Linklater's great earlier films and for the most part is was pretty good. I really want to see more of his work including Boyhood. That is a film that really intrigues me.

4/5 Stars

Before Sunrise (1995)

This is a fascinating film not just about love and romance but higher, deeper concepts altogether. Without knowing the idea already existed, this is the film I always wanted to make in my head!

Two people meeting in a place under unusual circumstances (on a train in a foreign country), and then building a bond over a single day that evolves into something really special very, very quickly.

This is exactly happens with Ethan Hawke and Julie Delpy who do a wonderful job playing two genuine people who have their own set of ideas, aspirations, fears, memories and unique personalities to go with them.

They spend an evening in Vienna and create a memorable flashbulb moment out of it. One instant that sticks out in my mind is when they are sitting at a restaurant with many conversations going on around them. However, the two of them have pretend telephone conversations with other people. Through it Jesse and Celine learn how the other feels about them. It is so beautifully captured because they do not have to say it directly, but through this roundabout way they know.

Perhaps this film sounds like a bore to some and it may in fact be because a lot of it is talking. But Linklater and his collaborators frame it in such a way that I was very much engaged. Isn't a lot of life talking anyways? In that way it had a spontaneous, realistic feel and that is thanks to a solid script along with the candid delivery of the leads. When I first saw Julie Delphy I had no idea she was French and it took me a while to catch on. She and Hawke play well off of each other and it is interesting to be able to eavesdrop on their conversations.

Before Sunrise was a pleasant surprise because it failed to fall into many of the normal conventions of romantic comedies and instead it rose above the mediocrity to tackle the ins and outs of love and life through frank and wonderfully unadulterated conversation. I cannot wait for more of Linklater's trilogy.

4.5/5 Stars

Good Will Hunting (1997)

Good Will Hunting is an extraordinary story on multiple levels, because it is about the little guy. The trajectory of a lowly janitor being propelled to MIT genius is moving no matter how often it gets copied or imitated. It just never gets old. Then there is the story of two young unknowns named Matt Damon and Ben Affleck who shot to fame thanks to some big dreams and a few mentors. Now they are two of the top names in Hollywood over 15 years later and they continue to be (Gone Girl and Interstellar are proof).

However, back then they were a long shot with only a solid idea for a film. It worked wonderfully though because of its core themes. It's about friendship. It's about romance. It's about fear and aspirations. It's about vulnerability. It's about long shots making the most of their lives. Admittedly that could be almost any film so there's a need to bring the microscope in a little closer.

At face value Will Hunting (Matt Damon) seems like a young thug from South Boston who loves his beer, buddies, broads and brawls. He and his friends including Chuckie (Ben Affleck) spend their days trying to make ends meet and fill the rest of their time with the aforementioned. We get glimpses of a different Will however, a brilliant young man holding a plethora of book knowledge and blessed with a photographic memory. He's able to philosophize rings around conceited Harvard students catching the eyes of a cute British girl named Skylar (Minnie Driver). They are a sweet couple and it seems like it might add up to something good.

Then comes the necessarily fateful day when Will solves the unsolvable equation on the MIT wall, following that feat with a brawl fight that lands him with a potential jail term hanging over his head. It's a strange dichotomy and it deeply surprises Professor Gerald Lambeux who quickly realizes the unassuming genius that is Will Hunting. He's fantastic, but in order to utilize his potential Lambeux agrees to have him meet weekly with a therapist.

What follows is an absurd string of therapy sessions where Will who wants none of thisanalysis makes a mockery of his psychologists. When Lambeux's former roommate and last resort Sean Maguire (Robin Williams) is called in it looks like more of the same.  But he is different. He sees something more and Sean is not about to give up on the kid. Their session begin as a battle of wills until Will's defenses finally break down. They construct something beautiful, something real  and in many ways vulnerable.

It is then that Sean teaches Will about true love and living life with no regrets. He had a wife who passed away from cancer and he is hardly a big name academic, but he wouldn't trade his life for anything. That's enough for him. All the while in between sessions Will must figure out his life whether he wishes to work in the stuffy world of academia with professor Lambeux, continue living with his chums in Southie or move forward with Skylar who is off to Stanford soon.

Sean doesn't force him into one decision or another but gives him personal advice. As a young man he met a pretty girl in a bar, the same day in 1975 that Carlton Fisk hit his famed home run. But Sean gave up his seat to spend that evening with a girl and it paid off. She would be his wife for all those happy years before she came down with cancer. In Will's eyes and perhaps even the eyes of the audience he was utterly insane to pass that up, but for Sean there were no regrets. That's enough.

On the verge of turning 21 there are so many choices, thoughts, feelings and fears swirling around. Not to mention Will's ugly past as a foster kid full of abuse and a heavy rap sheet. It's the steady and pragmatic consoling of Sean where he finds relief. Sean will not be quelled in reminding him, "It's not his fault." That's simply the hand he was dealt.

In another beautiful scene that is oft cited, Chuckie tells his friend in the most genuine way that he can that he doesn't want him to stick around. Because the reality is Will has been given a ticket out of Boston and it would be a knock to all of his friends if he stayed around. On the day Chuckie won't need a note. He'll have satisfaction enough that his friend will be gone. To this day it still feels a tad corny, but it works within the film so I will go with it.

Down the line, Sean receives a sincere note in his mailbox and Chuckie walks up the steps to Will's place and no one answers. No one needs to say anything because they all know Will has gone to follow his dreams. Go west young man after the girl you love and take a chance. No regrets. It is the perfect ending for this film and at the same time the most aggravating.

Robin Williams was an obvious standout in this film and it saddens me to think that he is no longer with us. I think I appreciate him most in his dramatic roles because he is so genuinely funny it comes out organically. He is a great counter to Matt Damon because without that dynamic this would be a far less noteworthy film. Also, the script is full of quips and a great balance of intellect and laymen terms making for a unique story. It takes time to acknowledge the idiosyncrasies and pain that are a reality of human existence.  That's why it hits home. Hopefully Will as well as all of us find what we are Hunting for.

4/5 Stars

The Grifters (1990)

When you have Martin Scorsese producing and Stephen Frears directing you are bound to get something intriguing and The Grifters is just that. It's a Neo-Noir starring John Cusack (no Lloyd Dobler), Angelica Huston and Annette Benning. It's got everything you can expect with a title like that from small time swindling and horse races in La Jolla to deadly Femme Fatales with shady intent.

The film really has three stars in the above, but at the center of it is young grifter Roy (Cusack) who has been doing nicely for himself ever since he went off on his own. But his type of life does not come without a price. Lilly (Huston) is an old vet who has worked all the angles for a long time and now she is in the service of one tyrant of a bookie named Bobo. She hasn't seen her son for 8 years and all of sudden she comes back into his life finding him in need of medical attention. Their reunion is far from civil.

Then last but not least is the despicable Myra (Benning) who seduces her way into the hearts and the wallets of many men. Now she's with Roy but before there was another con man and she is far from exclusive using her sexual wiles to get anything and everything she wants. It's not surprising Lilly can't stand her guts. No one could. If he's honest not even Roy. Soon enough Lilly poisons him towards Myra and the seductress wants revenge and she seemingly gets it.

What follows involves lots of blood, lots of money and a descent deeper towards a hellish conclusion that feels hollow and cold. Elmer Bernstein's score accentuates the mood with a tense and altogether creepy string section.  As far as character dynamics go this has to be the strangest triangles around. Each one of these confidence tricksters is a grifter and each one has a slightly different angle. However, when it's all said and done only one of them can come out on top even if they didn't want it to end that way. That's just the way things go. There is no turning back, only running away for dear life.

The three leads played their roles to a tee  and The Grifters proved generally engaging even if all the questions were not answered with loose ends still to be tied up. It also blends the general themes and outlook of noir with a setting that almost feels anachronistic at times. It's hardly a complaint though and maybe things are better this way anyhow.

3.5/5 Stars

What About Bob? (1991)

I was not sure I would like this film because honestly Bill Murray is not usually one of my favorite actors. However, his portrayal of Bob Wiley, a man with every phobia imaginable, is maybe his most lovable. True, he is annoying and neurotic, but he means well. In many respects he reminds me of Jimmy Stewart as Harvey because both characters were able to captivate most of the people around him. Only with Bob he got under the skin of one man and that man was his psychologist Dr. Leo Marvin (Dreyfuss). Bob tags along on Dr. Leo's family vacation and that is where the conflict really gets started and the laughs begin. Every moment that the doctor loses his sanity continually builds up  until the stress of Bob is just too much to take! All in all this was a pretty entertaining film and I gained a new found respect for Bill Murray.

3.5/5 Stars

Jurassic Park (1993)

Jurassic Park was yet another smash hit for Steven Spielberg back in 1993 and it as well as the animatronics stand up pretty well over 20 years later. It might feel slightly underwhelming at times but definitely still carries the ability to entertain.

Without giving away too much plot, although most should have already seen it, Jurassic Park plays out like a modern day King Kong story. John Hammond (played by actor/director Richard Attenborough) is a white haired billionaire with an eye for spectacle. He has put his money to good use (so it seems) pouring resources into a new sort of attraction. This is no Disneyland and as such the stakes are much higher.

He calls upon the services of a paleontologist Dr. Grant (Sam Neill) and a paleobotanist Dr. Sattler (Laura Dern)  to give the seal of approval on his grand endeavor. There's also a nosy lawyer who is curious for the sake of his investors. Round out the group with an authority on Chaos Theory (Jeff Goldblum) along with Hammond's grandkids and you have all you need.

These lucky few are the ones who get shipped out to a remote island off Costa Rica to see first hand the majesty of Jurassic Park. But rather like a Frankenstein, Hammond does not know what he has created. What was meant to be good turned sour all too quickly except in this rendition of the story he gets a little from a pudgy programmer who is looking out for himself.

There's not much character development to speak of, but if you have real life dinosaurs terrorizing island you do not need much else. Accompany it with a truly epic and iconic score from John Williams and you have something quite special and quintessentially 1990s. If kids did not want to be paleontologists before they undoubtedly did after Jurassic Park.

As Dr. Grant so aptly puts it "Dinosaurs and man, two species separated by 65 million years of evolution have just been suddenly thrown back into the mix together. How can we possibly have the slightest idea what to expect?"

That is the general intrigue behind Jurassic Park besides the awesome fact that we get to see a T-Rex, Raptors and many other dinosaurs recreated. This is not necessarily a kids movie due to the intensity at times, but it definitely is meant for the young at heart. Those are the people who unashamedly love dinosaurs.  But then again who doesn't love dinosaurs?

4/5 Stars

Shadowlands (1993)

Starring Anthony Hopkins and Debra Winger with direction by Richard Attenbourough, this film chronicles the romance of famed Christian professor and writer, C.S. “Jack” Lewis with the American poet Joy Gresham. Jack is by now a respected professor at Oxford and a widely acclaimed lecturer who often speaks on the issue of human suffering. In his personal life he is rather reserved. He lives with his older brother Warnie and spends times with his colleagues discussing at the local pub in the evenings. 

It is not until he receives a letter from an American admirer named Joy Gresham that his life seemingly begins to change. He first accepts to meet her only to be gracious, but soon their relationship develops into a close bond. Jack meets Joy’s son Douglas who is enthralled by Narnia. He even offers them a place to stay during the Christmas season since they have no where else to go. Lewis and Gresham are very different people to say the least. He is a quiet intellectual with the sensibilities of an Englishman while she is a plain speaking American who is not afraid of mincing words. However, these differences bring them closer together because help each other to view the world in a radical new light.  Jack learns how Gresham’s marriage is going badly and he settles to marry her in a practical union so she and Douglas can stay in England. They do not speak of it much and it hardly seems real. Joy calls him on it realizing for herself that he allows no one to challenge him. There is no vulnerability to him whatsoever. 

However, then Joy is diagnosed with bone cancer and slowly but surely she begins to deteriorate. For the second time in his life Lewis understands the anguish that comes when a loved one is suffering. Because the fact is he most definitely loves Joy and it simply took tragedy to make him realize it. 
As with any unexplainable suffering Lewis is tested in his faith and the reality human suffering has new meaning to him. It is no longer just lecture material, becoming a far more personal process. 

Although this film is not so much focused on C.S. Lewis as a Christian theologian or apologist, I think Anthony Hopkins does a wonderful job of portraying him as a kindly and gentle man of faith. He struggles with doubts and fears like every human, but he found something wonderful in his love for Joy that changed him. 

Debra Winger must also be commended because she played well off of Hopkins and even though I have no picture of the real Gresham, Winger seemed to embody her well. In some ways I found her most beautiful when she was bedridden, absent of all makeup and seemingly so pure. It positively tears your heart out watching her son say a tearful goodnight or look on as Jack stays up with her. This is a better picture of real, unadulterated love than most films can hope to manage because it very rarely becomes a sappy melodrama instead resorting to more deliberate means. As Jack says we live in the “Shadowlands,” but amidst the pain and suffering love seems to shine through even brighter. 

This was such an enlightening film for me because I will always envision C.S. Lewis as a scholar and rational thinker, which he was. But he also had a vulnerable human side and this film as well as A Grief Observed (written after Joy's death) prove that point. It's hard not to feel for him and that's part of the beauty of this story. 

4.5/5 Stars

Three Colors: Red (1994)

Kieslowski's films are mostly character driven and yet he often uses high drama to create a far more complex lens to observe his subjects. In Blue the inciting incident was a deadly car accident. It seems only fitting that he would end his story with the catastrophic sinking of a ferry. He takes the same bleak, no nonsense approach with little fanfare that he used before. It's his way.

In fact Three Colors: Red as a whole is another simplistic film in plot and yet the irony is that the film is chock full of complexity because its major point of interest is interpersonal relationships (as suggested by the intertwining phone lines shown early on). There is not much more tangled and intricate about humanity than our relationships.

As such this final installment is in many ways a story about love, romance and friendship and yet Kieslowski does not find it necessary to preach to us. He is better and more thoughtful than that, laying out the story for us to ponder and mull over. This is the story or better yet the parable he created.

Valentine (Irene Jacob) is a young student and model who is constantly an innocent and sympathetic figure with a pair of doe eyes. She is often shown in profile which continually reveals her youthful and even sullen beauty. She is even the somber poster girl of a gum campaign plastered around town. There's a boyfriend in her life who she's desires the affection of and then a brother who is hooked on drugs. In other words, life is far from rosy and secure.

One day she accidentally runs over a dog that she takes it to the owner (Jean-Louis Trintignant) who seems surprisingly unconcerned by the event. She does the only thing she can do with a clear conscious which is taking the dog to the vet and then taking care of it. Soon after Valentine finds herself walking the dog by the old man's house once more and she discovers what he does all day. It turns out he is a retired judge and he spends his solitary existence eavesdropping on the conversations of others (including Valentine's neighbor Auguste).

Later through the grapevine she finds out that a retired judge had a suit filed against him and she rushes to his house to assure him she had no part. He already knows, because he was the one who turned himself in.

Over the next days Valentine begins to empathize more and more with Mr. Kern's existence. As a former judge he was forced to make decisions far more difficult than most. In fact why do people follow laws? Is it out of goodness or purely self-serving? Is morality all relative? What really is good and bad, because how would we act in the other man's shoes? By this point we see Kern's struggle a little better.

Finally Valentine invites her new found friend to her last fashion show before she heads to England for a few weeks. It's a touching moment when he pays her a visit after the show, but it's also reveals the pain in the old man's past. It may be a lucky guess but all we know is that Valentine figures him out. It just shows you cannot judge others by first impressions.

So as it goes Auguste's life practically mirrors that of a younger Kern and thus so many parallels become evident. Aside from the obvious I only figured it out after the film was done, but they are both judges, struggle in love and the like. At the end of the film when Kern sees the news about the ferry  with Valentine and Auguste aboard, the only thing we know for sure is that there were seven survivors (guess who!). In a somewhat subtle way the trilogy is connected and Kieslowski ends his tale on a fitting note. It freezes and just like that the career of one man was done for good. A couple years later he would already be gone. But he went out on top and Three Colors cemented his legacy. I always loved the color red the best. Here's yet another reason why.

4.5/5 Stars

Three Colors: Blue (1993)

"Now I only have one thing left to do: Nothing. I don't want any belongings, any memories. No friends, no love. Those are all traps."

I once thought that Before Sunrise was the type of movie that I would want to make. Three Colors: Blue is another concept that I have often envisioned without even knowing it. In fact, I had seen The Descendants, a film with a somewhat similar story arc told from a different perspective. Except whereas Clooney's film is full of blatant drama and intense familial moments in Hawaii, Blue is far more nuanced.

The Descendants might be a more gripping drama but Blue has the sort of complex depiction that seems to more closely mirror reality. The grieving process involves isolation, solemness and at times few words. The easiest way to grieve is not to feel, not to fully embrace the pain. Sometimes that is the simplest if not the healthiest way to deal with it for Julie. It's a real world approach to the scenario and its no less painful to watch, perhaps even more so.

Julie's husband Patrice de Courcy was a famous composer who was commissioned to arrange a grand piece to be performed at concerts for the Unification of Europe. It is a great honor and we quickly learn that Patrice is quite a big deal. However, after a car accident Patrice and his 5 year old daughter perish in the crash and only Julie gets away alive. It is a stark, unsentimental picture and it succeeds in changing Julie's life forever.

After being released from the hospital she soon sells all her possessions and moves out of her family apartment to take up residence somewhere far removed from any acquaintances including a man named Olivier who is in love with her. She has a new home and begins to sever ties to her old life. The unfinished work of her husband (and her) is trashed and that's the end of that. In her new Parisian home she has rodent problem and becomes the hesitant confidant of a local exotic dancer. Furthermore, she rejects the necklace that a young man pulled out of the wreckage. Her times of solitude are spent swimming laps alone in the local pool, submerged and half covered in shadow. Grandiose symphonies reverberate through her mind, haunting her. In such moments Kieslowski will often blackout the screen in the middle of the scene, effectively interrupting the action for a few seconds before bringing us back.

Words are few and far between for Julie and when she does speak it is often brief and reserved. We are therefore, forced to observe her without the aid of dialogue. She is certainly detached but there is a provocative side to her. Something is mystifying about her soft features, dark eyes and short hair. She is a wonderful woman of mystery and beauty because the reality of it we do not know a whole lot about her. We must discover more bit by bit and she does not readily disclose information.

It is when pictures of her life literally flash before her eyes on a TV screen that the story takes its next turn. Julie learns soon enough that her husband had a mistress who he was with for a few years. In the hands of Hollywood this would be high drama; in the hands of Kieslowski it is far from it. Julie is still the same aloof individual she always was and even a confrontation with the mistress does not change that. She is civil and generous through it all.

Finally, she returns to her husband's composition which she learns Olivier has started to rewrite. They agree that he will make his own work and Julie must accept it for what it is. Faces from the film float across the screen and a still solemn Julie lets out a few silent tears. The anti-tragedy is complete, a subdued, intriguing piece of cinema. Not for those with short attention spans but I am interested to see Red and White. Kieslowski intrigues me with his thought provoking films somehow reminiscent of the likes of Bergman or Bunuel.

4.5/5 Stars

Glengarry Glen Ross (1992)

It's a film about a despicable world which promotes despicable people and despicable behavior. That's the world of the real estate salesmen in Glengarry Glen Ross. Here are men who use any mode necessary to close deals as they say. They finagle, lie, cheat and even steal because those are just tricks of the trade. Those who get the good leads are able to close more deals and make more bank. Those who get the leftovers struggle to swing something out of nothing. Shelley "The Machine" Levene (Jack Lemmon) is one of those struggling after many years of success in the business or racket, whichever you prefer. He has a lovely personality, rather like a hissing snake trying to seduce you before going in for the kill. On the flip side he can be a real jerk and he is unscrupulous as all get out.

But that's enough on Shelley. The office is run by rigid John Williamson (Kevin Spacey) who just follows his orders and does not budge an inch. Then there is Ricky Roma, the top closer who is especially cynical but also a great admirer of Shelley's skill. Dave Moss (Ed Harris) is a man with a big mouth and fiery temper not ready to sit by while other men outperform him. Finally, there's George Aaronow (Alan Arkin) a man who humors Moss and is also fed up with his situation.

The wheels start turning when the Big Whigs send in a man named Blake (Alec Baldwin) to motivate the salesmen. It's the survival of the fittest after all and they know what it takes to sell real estate so he encourages them to go and do likewise. His main tactics include berating, insults and threats against their careers (They either get a car, a set of knives or the boot). Verbal attacks are sometimes more pernicious than physical beatings and that's the truth here. They never relent even after Blake leaves because that's the type of choice words that this environment fosters. One minute a salesmen uses a polished voice to coerce a client then turns right around to bad mouth a colleague.

Moss on his part tries to pull Aaronow into his plan to steal the good leads from Williamson's office. A desperate Levene tries to get better leads from an unrelenting Williamson as the veteran man struggles to convince clients and deal with his ill daughter. Roma on his part is at top form playing his client (Jonathan Pryce) and getting him to stay with a deal until it gets messed up. In the process we see all the pettiness, desperateness and corruption unleashed. The burglary goes down and it does not necessarily involve who you would think. Maybe it does. That's not the point though. The point is these men will do anything given the position they are in, but its not that simple because each one has their complexities. For instance Levene and Roma are on very good terms and Moss and Aaronow seem very buddy buddy. But ultimately it seems they look out for number one and that takes its toll on any human being.

The film is a biting drama brought to us through a fiery and sometimes brutal script from David Mamet, based on his play. Furthermore the story is aided by an all star cast of big names. Each one plays an equally despicable character. I knew Pacino, Spacey, Harris and Arkin were up to the task because I had seen them before in tough or villainous roles. However, to his credit Jack Lemmon shows his versatility here since I absolutely despised him for once. That's no easy task and he proved it to be possible. This film may be a black comedy, but there really should not be much to laugh at.

3.5/5 Stars

Searching for Bobby Fischer (1993)

Josh Waitzkin (Max Pomeranc) seems like your average little boy with a bowl cut and an affinity for Legos and sports. However, soon his parents discover that he has a special gift for chess and his father (Joe Mantegna) especially wishes to cultivate his skills. He finds Josh a teacher named Bruce Pandolfini (Ben Kingsley), a former chess champion himself who looks to discipline the boy's playing so he can be the next Bobby Fischer. He eggs Josh on with the promise of a grand master certificate once he earns enough point and so Josh listens to his instruction. His dad enters him in tournaments that Josh wins easily and rapidly moves up the ranks, but as always happens the game is no longer fun and the father gets more intent on his son excelling on the highest stage. The trophies stack up, but Josh is missing a lot of school as well as his friends.

On the urging of Bruce, Josh is no longer allowed to play with the men in the park because they play undisciplined. Stepping back for a moment there is the realization that this is a seven year old boy and yet this really happened and it happens very often. Parents push their kids so much so because they wish for them to succeed and they want to give them what they never had.The film deals with this circumstance sensibly with Josh's mom acting as the voice of reason. His father is not a bad man by any means and it is during one scene in the rain after Josh loses again that we see that. Josh sits on the curb in silence as his dad talks to him and the boy genuinely asks, "Why are you standing so far away from me?" It's at this moment that Mr. Waitzkin realizes that he has blown things out of proportion and embrace his boy telling everything is okay.

Eventually Josh goes back to playing with his buddy Vinnie (Laurence Fishburne Jr.) in the park and takes some fishing trips with his dad. Despite, the initial cautions of Pandolfini Josh goes into the biggest tournament against his greatest competition with stressing over chess. He just uses all he has accrued and plays a beautiful game. Over the course of the game he deviates from Fischer winning on his own terms the way that he wants. He may have been searching for Bobby Fischer, but ultimately he found himself instead and Josh is better for it.

The film is framed with voice-over of Josh as he recounts the exploits of Fischer which then is juxtaposed with his own story. When the film came out back in 1993, Josh was still playing in his early teens and Bobby Fischer had come out of solitude to finally beat his old rival Boris Spassky. Both were master chess players, but with two very different stories.

This is certainly a feel good story, but it has wonderfully nuanced characters that make it a step above other such films. Max Pomeranc is wonderfully innocent and unassuming with his big doe eyes and slight lisp. Kingsley and Fishburne on their part give two worthy performances as his two starkly different mentors with dueling strategies. It is however, Joe Mantegna and Joan Allen who have the most important roles as Josh parents, because their hopes and struggles are universal for all parents. We can empathize with them and the life they want for their son. It's then the film becomes about far more than chess. It's about family, friends and being true to yourself.

4/5 Stars

Beauty and the Beast (1991)

My affinity the past decade has gradually turned from the classical Disney formula to the seemingly more inventive storytelling of Pixar. However, Beauty and the Beast certainly has all the makings of a great Disney film and it is perhaps one of the last classics to come out of the canon.

As per usual the story gets its inspiration from books and fairy tales. This time from France. Of course any good fairy tale must have a prince and this specific prince was unfortunately turned into a great ugly beast by an old woman turned beautiful enchantress who he insulted. After that trauma he is resigned to that awful fate until he learns what true love is. Until then he lives locked away in an enchanted castle with no human contact and only a magic mirror to gaze into.

Belle is the most beautiful girl in her little French village where she devours book after book and deflects the increasing advances of the handsome yet conceited Gaston. She lives with her quirky father who has a knack for crazy inventions. One such contraption actually works and he rides off to show it off, but on the way he gets lost out in the wilderness. Lo and behold he ends up at the Beast's fortress and is soon imprisoned. His daughter goes after him and receives a warm welcome from the enchanted staff of the castle, but the Beast will only let her father go if she stays. So she tearfully agrees. The drama is heightening.

It is slow at first, but over time the Beast's timid side is revealed and he begins to fall for Belle. The breaking of the spell seems imminent and yet he reluctantly lets the homesick Belle go see her father again. However, Gaston has been working in the shadows and riles a mob to lock Maurice away and then go after the child-killing Beast. Humanity must be saved from such a villainous creature after all.

In typical Disney fashion, the final act is a wholly entertaining conclusion with an often uproarious skirmish between the villagers and the enchanted inhabitants of the castle. Top that with a necessary final showdown, some passionate kisses and some sumptuous final sequences, and everyone is happy. Disney has always been adept at making films with a wide range of appeal and they do it again here with their foolproof formula. They take a universal story and fill it with memorable music and absorbing visuals. The animation is often inventive and fun while the characters fill all the necessary spots. You have your villain, your beautiful girl, your anti-hero, a bickering clock and candle along with a kindly tea pot. What more could you want?

I must say I am curious to watch the original French version La Belle et la Bete (1946) by Jean Cocteau to see how this version varies. Until then I am happily content with this film. This is the type of animated film audiences deserve to see and hopefully they will. Bonjour and Be Our Guest!

4.5/5 Stars    

Forrest Gump (1994) - Updated

If you want to start out on the broadest level possible the film is a lesson in 20th century American History. It charts the turbulent course of mankind including assassinations, counter-culture, Vietnam, Ani-War Rallies, The Cold War, Watergate and much much more. The substantial soundtrack dials back the clock to fully immerse the audience in that time and place. It is the dream movie for pop culture fanatics and history aficionados. That's why I enjoy it. However, much like the feather that flutters in the breeze drifting this way and that, Forrest Gump is a character who floats through history as it is made. It begins with his leg braces which give inspiration to the Elvis phenomenon. Ultimately he plays football for Alabama, sees the school desegregated and becomes an All-American who meets JFK.

Soon it's off to Vietnam, followed by a Medal of Honor and a trip back home thanks to a million dollar wound. Forrest gets a taste of the nation's capital and soon becomes an accomplished ping pong player, makes it big in the shrimping business and heads home back to Alabama after buying Apple stock. All these moments are absorbing to be sure, but that alone would make the film just okay as a historical drama.

Tom Hanks' Forrest Gump is the important piece in the entire equation because of the people that gravitate towards him. Forrest himself only has an IQ of 75, but he is so unlike many of the characters we are used to. Not because he is "simple" so to speak, because he is far from it. Perhaps it's the fact that he is wholly genuine, loyal and innocent. That's mostly unheard of these days. He seems to stand at complete odds with the history that is happening all around. Sometimes it looks very different from his eyes or he is completely oblivious to what is happening. However, in some ways he seems to have things figured out better than most. He loves those close to him, does what he loves and never loses his positive spirit. His observations on life might be plain, but they are nonetheless powerful to those around him. To Hank's credit he infuses the character with a slow-wittted charm and gives him a deep southern drawl. He's Forrest, Forrest Gump. That's all he needs to be.

Sally Field has a relatively short screen appearance which is still extremely important, because Forrest's mother is the one who helps guide his whole outlook on life. She encourages him to make the best of what God has given him and to realize he is no different than other "normal" people. Her love, cultivation and homespun knowledge is what seemingly allows Forrest to lead a full life, though pithy sayings only go so far, at some point you just have to live.

Jenny is another character who is perhaps a greater drifter than Forrest himself. She is constantly trying to find her way through the turbulent times while Forrest's feet always seem firmly planted on the ground (Rather ironic since he is always running). She is a prodigal and always prone to return to Forrest who always welcomes her back with open arms no matter the circumstances. It might be a stint in a night club, living the hippy life, joining the Black Panther Party or being with other men. Forrest is forever loyal and protective of her. She cannot always handle having him in her life and she wishes to find her own way. He is always there for her though even up to the point of taking care of a son.

Bubba and Lieutenant Dan are Forrest's best good friends and both men are greatly impacted by Vietnam. Bubba dies and Lt. Dan loses his legs (not to mention his self-respect). Forrest is fiercely loyal to both comrades, starting up Bubba Gumps Shrimping in honor of his late friend and giving work to Lt. Dan when he needs it most. He is a friend for the ages and he takes the title seriously.

Calling Forrest Gump just a historical drama or sentimental tripe might be partially accurate and yet it cohesively adds up to more than its parts. 20 years have gone by, true, and some of the luster might have gone away, but certainly not all of it.  Though it might be far from perfect, it is a story that is worth any shortcomings because it has heart and a fantastical telling of American history that is still worth watching.

4.5/5 Stars

Saving Private Ryan (1998)

Telling an amazing story of bravery, Saving Private Ryan is both inspiring and moving. Beginning with the invasion of Normandy on D-Day June 6, 1944, the film follows a group of American soldiers as they look for a Francis Ryan. Since all three of his brothers are dead their mission is to find him and send the private home . Despite the dangers and the subsequent deaths of many comrades, they finally complete their mission after one last heroic fight. The movie flashes forward to the present day Ryan as he kneels at the graves of those brave men who saved him. Unsure he asks his wife if he lived a good life because those soldiers payed the ultimate price for him. With director Steven Speilberg, Tom Hanks, Matt Damon, and other good character actors, this is a powerful war film with great battle sequences as well as amazing heroism.

5/5 Stars

Groundhog Day (1993)

Starring Bill Murray and Andie MacDowell, this romantic-fantasy-comedy is about a conceited weatherman named Phil Connors who goes to cover Ground Hog Day. After coping with the day once, Phil wakes up and goes through it again realizing he is in a time loop. At first since there are no consequences Phil memorizes every occurrence, takes advantage of situations, and romances any woman he wants. However, over time the novelty wears off and it soon gives way to monotony. He even starts committing elaborate suicides to get out of each day. However, as he continues to fall for his producer, Phil begins to change and decides to use all he knows for good. After one day he is the most loved man in town and surprisingly enough he finally is free. The concept of this film is certainly interesting and it brings up hilarious and thought-provoking situations. Phil Connors begins as a self-serving jerk, hits rock bottom, and finally finds redemption in showing kindness for others. And the best part is he no longer has to listen to I Got You Babe!

 4/5 Stars

L.A. Confidential (1997)

Starring Kevin Spacey, Russell Crowe, Guy Pierce, and a great supporting cast, the film takes place in Los Angeles in 1953 where the police force is trying to get rid of crime. Pearce is the promising newcomer who will do whatever it takes to move up. Spacey on the other hand is the technical adviser a cop show and makes money on the side supplying a gossip journalist. Crowe is simply a hardened strong man. Despite their mutual dislike for each other, they must ultimately work together to uncover the mystery behind the murders at the Night Owl Cafe. Their investigation leads them nearer than they ever expected. In a heated finale they must fight for justice while struggling to stay alive. Although quite violent, this film has a good period setting, and the interesting story is reminiscent of classic film-noir.

4.5/5 Stars

Titanic (1997)

Starring Leonardo DiCapprio with Kate Winslet and director James Cameron, the film opens with an exploration of the submerged Titanic. An interesting discovery puts the explorers in contact with an elderly woman who was there in April 1912. Rose recounts her arrival as a newly engaged 1st class passenger. She felt trapped in her life until she accidentally met Jack, a 3rd class drifter who won his ticket in a poker game. After he saves her life, their forbidden relationship continues as they spend more time together. Jack, who is an artist, even does a charcoal drawing of Rose. However, all too soon the unsinkable ship hits an iceberg and chaos ensues in the following hours. Heroically, once again Jack keeps Rose alive although he himself perishes in the cold. Back in the present Rose now keeps him alive with her memories. This epic romance is fairly good with a semi-autobiographical story, special effects, and a decent score.

4.5/5 Stars