This high-speed SciFi Japanese animation film was both a let-down and a pleasant surprise to me. "Alice" takes place in the near future in an apocalyptic Japan. The handful of characters that survive sit on two sides of a battle as either: (a) supporters of the seemingly megalomaniac tyrant or (b) in opposition as fighters for the liberation forces. The tyrant and his computer forces appear to scheme to kill of the majority of the population; the liberation forces, on the other hand, fight to defeat the tyrant and save humanity.
The artwork in this film, or lack of, disappointed me. I expected
to see the painterly, highly detailed style that exists in many other
anime films. Instead, the filmmaker employed 3-D computer animation
to excess, lessening the art, in my opinion. I realize that computer
animation may make an animator's job somewhat easier in some respects
in terms of creating movement. However, I felt as though I were
trapped inside a Sega Genesis game, and possibly that was the
filmmakers' intentions. However, the gameboy atmosphere cheapened
the sophisticated storyline.
I truly enjoyed the complexity of the storyline and the realism of
the emotion behind the characters created by screenwriter Masahiro
Yoshimoto. Despite what may be said about Japanese attitudes
towards women, the primary character, Alice, is surprisingly
feminist. I think that many liberated women throughout the world
will appreciate the fact that her character is successful in her
career, a good fighter (both emotionally and physically) AND full of
love, compassion, and dedication for her family and friends. She is
intelligent, strong-willed, emotional, and feminine. The other
female lead falls prey to the objectification of women stereotype
that one may expect, she is a female robot created by the lonely male
lead. Yet, the female robot, affectionately called "Mary" by Alice,
is as courageous and defiant as she is sexy and provocative. One of
the supporting characters is a young man who befriends Alice. His
character is equally interesting because on the surface he attempts
to be the strong, chivalrous male, but deep down he and the two
female characters know that in fact, they are the ones rescuing him
from a life of loneliness and boredom by bringing adventure and
companionship to his life. He is also often saved by his female
robot.
In addition to the suspense and the action, heightened by director Kenichi Maejima, "Alice" will entertain audiences with the socially conscious elements of the story. "Alice" explores the values of humanity, and the good and bad aspects of mankind. The filmmakers look at family love and disfunctionality. They also examine various environmental issues. In common with other science fiction movies, the filmmakers demonstrate the benefits and drawbacks of technology.
I did have some concerns with the underlying attitudes towards
western civilization. I question why Alice falls in love with a
blond-haired, blue eyed representative from the UN who fathers their
tyrannical son, who also has blond-hair. Are we meant to think that
the UN is a corrupting force in otherwise peaceful Asian nations? One
would think that her black hair would genetically over-ride the
blonde. Do the filmmakers intend to imply that the blonde hair is
more beautiful or that western genes may be more dominant? I also
wonder why Alice imagines that she has seen the Virgin Mary when the
robot saves her, why not Buddha? I was not sure if the views towards
Westerners was suppose to be negative, positive, or neutral.
I would recommend this film to people who enjoy action films with a message. However, if you are a big fan of the artwork common to many Japanese animation films, you many want to lower your expectations. I saw this film at the Mill Valley Film Festival. It will probably make a brief appearance in theaters throughout the US and do well in video release. Since I enjoyed the story more than the visuals, I think it would be equally enjoyable on video.
"Almost Famous" is one of the best films of 2000. This film explores the rock 'n roll scene of the early 1970s through the eyes of a teenage boy who aspires to be a rock journalist. He lands a contract writing an article about the rising-in-popularity band, Black Sabbath, for Rolling Stone. The story revolves around the boy's observations of the band as they go on tour. Frequently, when a director works on a project that is near and dear to him or her, their objectivity for creating a polished work is clouded by their love for the work's intensions. A few directors have been able to direct their pet projects so effectively that the film became a critical and financial success. Some of these directors include the great living auteurs like George Lucas with the Star Wars Trilogy and Stephen Spielberg with "Schindler's List". I would add to the list, Cameron Crowe who successfully wrote and directed his semi-autobiographical work in a manner that will effectively communicate his passion to a wide audience, even those who are not big fans of the early 1970s rock 'n roll scene.
Newcomer, Patrick Fugit, plays the boy journalist, William Miller (a character based on Cameron Crowe), with the perfect balance of wide-eyed fanaticism and intellectual cynicism. Fugit makes his motion picture debut in "Almost Famous" a film that will probably make him famous. Augmenting his performance is a cast of current and rising stars who include: Billy Crudup as Black Sabbath's lead guitarist, Russell Hammond, Kate Hudson as the lead "band aid" (chicks who live for the band), Frances McDormand as William Miller's protective college professor mother, and Jason Lee as Jeff Bebe, Black Sabbath's lead singer. I would anticipate that writer/director, Cameron Crowe ("Fast Times at Ridgemont High", "Say Anything", "Singles", and "Jerry Maguire"), actor Billy Crudup ("Waking the Dead", "Sleepers", "Inventing the Abbotts", and "Everybody Says I Love You"), and actress Kate Hudson ("200 Cigarettes" and "Desert Blue") will be nominated for numerous prestigious awards including the Golden Globes and possibly the Oscars.
There are a few reasons why the film worked for me and why I think a large audience will appreciate the film: (1) The script is well-written. The characters are complicated and sympathetic. The dialogue is clever, realistic but also insightful. (2) The entire cast gave convincing and moving performances. The casting director picked the right people. Billy Crudup plays his character with such conviction that there are moments when you think you are watching a documentary. Kate Hudson lights up the screen and conveys the changing moods of her character in a manner that is truly moving. Patrick Fugit brings his own unfamiliarity of the rock scene and movie acting to his performance, capturing the innocence and naiveté of his character. (3) The soundtrack, set design, and costumes transport the audience back to the early 1970s in a manner that will appeal to the young retro crowd who was not alive during that time period, and to the nostalgic Baby Boomers who were.
"Almost Famous" is a little on the long side (just over two hours), but it does not drag with unnecessary scenes or sequences. I would strongly recommend this film for the performances and the screenplay. I enjoyed the film and I am not a big fan of the music. If you like receiving an insider's view (and the "Survivor" craze indicates that many Americans enjoy voyeurism) and if you find psychological studies intriguing, then you will probably appreciate what "Almost Famous" has to offer. "Almost Famous" will open in key cities on Friday, September 15th and platform out after that date. I think it would be enjoyable on video, but you may want to see it in the group setting without the potential interruptions of home, that a theater has to offer.
* Kate Hudson won the Golden Globe for Best Supporting Actress
One word describes this film- delightful! AMELIE is a tale about a young woman whose timidity leads her to touch the lives of others, rather than allow anyone to touch her. This film will touch your heart and make you smile.
This film presents one of the best visual experiences in years in terms of creative and innovative use of color and the camera (angles, placement, and movement). One might wonder how a film that is so experimental in a number of ways could appeal to the taste of a world wide audience. The cast and crew do a tremendous job of capturing the emotions that get us through life and at times prevent us from living life to its fullest. Some Americans have described AMELIE as a French ALLY MCBEAL; although it is comical and centered around a young single woman, such a description does not do the film justice. AMELIE has the poignant fantasy quality that will put a smile on your face like CHOCOLAT; the powerful emotional impact of BILLY ELLIOT (although you will not leave the theater dancing); and the vibrant colors of an animated feature, even though this film is all live action. Despite the fact that this film has some of the qualities of other films and television shows, AMELIE is very original.
AMELIE is my pick for one of the most enjoyable films to watch and experience for 2001. AMELIE is in theaters now and will probably continue to be through Oscar time since I feel confident that it will be nominated for best foreign film. Although this film would be equally enjoyable on video, the quick dialogue might be more difficult to keep up with on a small screen.
Okay, I know you have heard this before, but I will say it anyway, this is an Oscar contender. First, the acting was strong all around. In fact, I don't think anyone gave less than "B" level performance; the cast includes Annette Benning, Kevin Spacy, Peter Gallagher, a few others that are not "names" yet, but probably will be... Part of the reason why the acting was so strong is because the characters were three dimensional, which points to a well-written script. I don't remember the name of the screenwriter, but he/she did an excellent job of giving all the character depth and significance in the narrative. The third reason for the strong performances can be accredited to the director who brought out the best in the script and from the cast. In addition to the acting, the director and writer did a phenomenal job of giving the characters equal importance and creating a level of sympathy for each of the character's situation. I am genuinely impressed (and I am not easily impressed) that this film was able to address some serious issues about human dysfunction without depressing the audience (unlike the Ice Storm that made me what to jump off the Bay Bridge). This film had just the right balance of humor (at times a bit twisted, but that's okay, I have a perverse sense of humor) and emotional pain, to make you think during and after the film as if you were related to the characters (pretty scary). The film also deserves recognition for the creative camera work used to depict fantasy and contrast the objectivity of the observed world (video) with the clouded world filled with emotions in which the characters lived. American Beauty is still out in theaters and may take a brief intermission, but my gut tells me that it will be re-released around the time the Oscar nominations are announced (because it will be on the Best Picture list and Spacey and/or Benning may receive nominations as well).
"American Pimp" is a disturbingly frank documentary about the second oldest profession, pandering. The Hughes Brothers, known for a filmic style that is anything but sugar-coated, teamed up to create a documentary that explores the life and minds of pimps in America. Although I think the brothers did a good job of creating a true documentary, in that they appear to observe a world without passing judgment, I think the film might have been easier to handle emotionally if they did present a clear argument. The pimps who they followed are truly despicable low lives, who have no respect for women and do not care about anything except money. They all lacked consciences, positive role models, and money growing up, which may account for their chosen lifestyle. "American Pimp" is educational, but more than I needed or wanted to know. I am not certain if the Hughes Brothers were trying to glamorize the life of the pimps, a.k.a. "the game", vilify it, or remain neutral. I entered the theater thinking pimps were pathetic and exited thinking they deserved to be in the same category as child molesters and wife beaters. Even though I do not have any criticisms with the film technically, I do think the content is disturbing without purpose. Maybe I am being unfair, but I think this film would have been better as a 60 minute feature instead of an hour and a half because by the end, I felt bombarded by the underworld. If you are looking for a film with candid interviews with big city Black pimps, then "American Pimp" will satisfy your appetite. If, on the other hand, you would rather pass on a film about brainwashing and exploiting women in the name of greed, then this film probably is not for you. "American Pimp" will open June 16th with a platform release in major metropolitan areas.
Certainly the most anticipated romantic comedy of the summer, "American Sweethearts" may not meet audience expectations. This is not to say that the film is not entertaining, because it definitely is. "American Sweethearts" hosts a long list of fine comedic talent including the King and Queen of romantic comedy, John Cusack (as a heart-broken, alternative medicine popping star) and Julia Roberts (as a self-conscious, formerly frumpy, personal assistant to a prima donna), as well as Catherine Zeta-Jones (as a Diva on the decline), Billy Crystal (as an under-handed publicist), Stanley Tucci (as a money-grubbing studio exec), Christopher Walken (as an eccentric ex-hippie director), Seth Green (as a clueless protege of Crystal), and Alan Arkin (as the alternative medicator). As expected, the entire cast does a fine job of delivering some funny lines, appearing in some comical scenes, and exposing the world to the craziness of Hollywood with wry humor. The co-writers, including Billy Crystal, do a fine job in terms of dramatic irony and one-liners, but the characters they develop are somewhat two-dimensional.
"American Sweethearts" opens wide on July 20th. The film is entertaining, however, it lacks the magical spark needed to make this comedy a blockbuster romantic comedy. This movie would be equally enjoyable on video. If you are looking for something fun, but not incredibly memorable, then I would recommend, "American Sweethearts".
"The Anniversary Party" is the directorial debut for Jennifer Jason Leigh and Alan Cumming. The two friends teamed up to co-write and co-direct this independent feature. This film allows the audience to be a fly on the wall at a hip Hollywood party with such in-crowd guests as: Kevin Kline, Gwyneth Paltrow, Parker Posey, Phoebe Cates, Jennifer Beals, Jane Adams, John C. Reilly, Denis O'Hare, Mina Badie; and of course, Jennifer Jason Leigh and Alan Cumming.
Leigh and Cumming wrote the script with their friends in mind. It is not hard to believe that the cast members are friends in real life, as the comfort level came through on the film. (Just a recap of who worked with whom and on what for those who are interested: Leigh worked with Cates on "Fast Times at Ridgemont High", Reilly worked with Paltrow on "Hard Eight", Kline worked with DP Bailey on "The Big Chill", Posey worked with Cumming on "Josie and the Pussycats", O'Hare worked with Cumming on "Caberet", and Badie worked with Leigh on "Georgia"). It was nice to see Jennifer Beals and Phoebe Cates back on the scene and looking great after more than fifteen years since they were in the spotlight as A-listers. For the most part the ensemble cast played characters that they have played before in other films.
Even though the characters are nothing new, the cast did do a good job all around of developing their characters and capturing their individuality and complexity. I was most impressed by Mina Badie whose character (Monica Rose) is the most out of place and becomes one of the most interesting party guests. Fortunately, the characters are interesting enough to make up for the fact that the story drags. This is not to say that the film lacks drama, as one would expect with so many drama queens, there is a lot of moderately dramatic moments; however, the most climatic moment occurs abruptly.
The film has a very low budget, independent feel; however, the budget was a lot higher than one would think considering there are no special effects. This leads me to think that the actors got paid what they are used to making, or at least close to it.
The most commendable aspect of the film is the camerawork. Director of Photography, John Bailey, has worked on many critically acclaimed films including: "The Big Chill", "Ordinary People", "The Accidental Tourist", "Swimming to Cambodia", and "A Brief History of Time". He did an excellent job of varying the camera angles and proximity to the action. Most noteworthy, he worked with the rest of the crew to insure that the shots were lit well enough to make digital video look as clean and bright as 35mm film stock. Mr. Bailey was equipped with a state-of-the-line SONY DSR-500. (I am not sure of the price tag, but WOW, I would recommend that more independents consider checking this digital camera out when putting together their budget).
"The Anniversary Party" opens in a platform release starting June 22nd. The film may inspire many indies to experiment with story presentation and the use of camera. The performances and characters are interesting, but the film is too long. If you are fans of the cast members, then I would recommend it. This film would be equally enjoyable on video.
The filmmakers behind "Atlantis: The Lost Empire" surprised me with the action-packed adventure. The team who worked on "Beauty and the Beast" and "The Hunchback of Notre Dame" (producer Don Hahn, directors Gary Trousdale and Kirk Wise, and Art Director Dave Goetz), came together again to create a completely different film. They describe their journey as a move away from Fantasyland and into Adventureland. The adventure, as one would anticipate from the title, occurs when the characters go in search of the underwater legend, Atlantis.
For some the new environment may be a disappointment. Allow me to clarify the differences so that you can enter the theater with an appropriate expectation. First, "Atlantis" is an action film first and foremost, not fantasy. There were moments when I jumped in my seat and dodged bullets along with the characters. Second, the film lacks a clear cut, obvious villain, unlike all the wicked witches and devilish fiends, who make their schemes know from the start. Third, the film lacks a fairy tale romance with a happily ever after ending, even though there is a degree of closure. Forth, the funny side kick who endears the hearts of audiences and whose stuffed animal form sucks the money out of parents pockets, does not exist in this film. Fifth, the film does not have a happy tone created by a bright and colorful background, but rather a curious mood filled with washed out sets. Sixth, the main character does not evolve tremendously, in fact there is more growth among the villains. The seventh and final element that one would associate with the Disney brand that does not appear in this film is the memorable, moving song (and we have all seen what a difference a hit song can make for a Disney movie as with "Beauty & the Beast", "Pocahontas", and "The Lion King"). There is a strong soundtrack created by composer James Newton Howard ("The Fugitive", "My Best Friend's Wedding", "One Fine Day", and "Junior"), and sound effects by Gary Rydstrom ("Hercules", "Toy Story 1 & 2", and "A Bug's Life); however it is not filled with feel-good music that will make you leave the theater humming.
The mise-en-scene in "Atlantis" deserves recognition for the multicultural mystical world that the animators created. The staff at Disney affectionately refer to the overall style of "Atlantis" as "Dis-nola" since it blends elements of comic animator, Mike Mignola with elements of the many other Disney animated features (such as "Fantasia 2000" since many of the animator involved also worked on this film).
The film host a long list of recognizable voices. Michael J. Fox (SPIN CITY and FAMILY TIES) provides the voice for the main character, Milo Thatch, an awkward linguist. James Garner (ROCKFORD FILES), lends his voice to the character of Commander Rourke, the greedy military explorer. Leonard Nimoy (STAR TREK and IN SEARCH OF) provides the voice for the aging King of Atlantis. Cree Summer ("Inspector Gadget" and TINY TOON ADVENTURES) provides the voice of precocious Princess Kida of Atlantis, the on-screen daughter of Nimoy and love interest of Fox. Other familiar voices include: Don Novello (Father Guido Sarducci), John Mahoney (FRASIER), David Ogden Stiers (M*A*S*H), Jim Varney (the Ernest series), Phil Morris (SEINFELD and ABC's return of "Mission: Impossible), and Florence Stanley (FISH).
"Atlantis: the Lost Empire" opens wide June 15th. I expect that "Atlantis" will do well at the box office, as it is as visually entertaining as many other action adventures; however, it is not a classic, especially not a Disney classic. The film will be released in wide-screen format and this factor along with the use of sound, make it worth seeing on the big screen. At a minimum, I think audiences everywhere will be impressed by the leviathan chase scene.