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In Cinemas Now
The Man In the Iron
Mask
Reviewed by Julie Jansen
Stars: Jeremy Irons, John Malkovich, Gerard Depardieu, Gabriel Byrne and
Leonardo DiCaprio
It's been several years since the legendary Royal Guards Aramis (Irons), Athos
(Malkovich), Porthos (Depardieu) and D'Artagnan (Byrne) fought together as the bravest and
best of the King's loyal servants, the Musketeers. King Louis has died and in his place,
is his cruel and arrogant namesake heir. In the name of liberty for France, the brothers
in arms reunite in a bid to restore faith in the monarchy, save the country from
self-destruction and to give life back to the one from whom it had been taken: the
mysterious Man in The Iron Mask.
The new boy-king Louis (Leonardo DiCaprio)'s twin Phillipe is a prisoner deep within the
bowels of the Palace, and his existence is known to only a few individuals - for years his
life has been suppressed in the name of France. The younger of the twin princes, he is
announced dead after birth and hidden from the world - even his mother - in a bid to
prevent quarrelling over the rightful heir to the throne.
The Musketeers appear a little worse for wear these days: barely able to bend their aging
knees to bow before the King, it is almost time they were put out to greener pasture(!)..
The reunion begins when Aramis (is asked to
do undertake a dastardly deed of murder for the evil young king. Aramis (Irons) is now a
clandestine and intriguing holy man linked to a secret
society of Jesuits. Upon realising that the King's interests lie not in those of his
country, the three Musketeers - opposed initially by their old
friend D'Artagnan - embark on a mission to restore glory to the nation.
Leonardo DiCaprio is suitably moody, broody, sooky and sulky as the spoilt Boy King who
cares not one whit for humanity, let alone his twin brother hidden for years in the deep
dungeons of the Palace. Although it's a shame he did not affect a French accent, his
portrayal of the dual roles is commendable. The fast paced script gives us only short
snapshots of DiCaprio's emotional portrayal of the two extremes: the cold, manipulative
and completely heartless King (a virtual emotional deficient); and the haunted, frail,
timidly polite and gentle prisoner who has not seen daylight in 6 years.
Gerard Depardieu (Porthos) delivers several amusing chuckles as the droll Musketeer who is
still an impish, impulsive scamp with an infectious and perennially adolescent sense of
humour. Watch for the scene that involves
a naked Depardieu, a nooserope and a swiftly annihilated barn - an unsuccessful suicide
attempt that has audiences in fits of laughter!
Gabriel Byrne is exquisitely paradoxical in his portrayal of the still-waters-run-deep
D'Artagnan, a dignified man whose powerful demeanour belies a heart filled with deep pain.
D'Artagnan is widely known
throughout France as a force to be admired and feared: 'the only thing faster than his
sword is his keen mind and the only thing sharper than that blade his wit. The mere
mention of his name frightens the common man.' His authority, influence and loyalty within
the Palace is unquestioned. There is a magnificent display of D'artagnan's legendary sword
abilities when he faces an angry vegetable-tossing rabble outside the palace gates: with a
few swift moves he makes his supremacy known.
The swordfighting itself is conducted competently by the cast, most of whom
had previous experience with the skill in other period films. Di Caprio had
also to learn strict etiquette as well as duelling procedures; as King, his
manner and bearing must, of course, be paramount. Watch for the amusing scene where Athos
(Malkovich) delivers crucial tutorials on table etiquette to Phillipe, a man who has not
drunk from a glass in several years. The stumbling, apologetic prince is endearing in his
ignorance and humbleness of such manners, and the aggressive Athos is emphatic in his
claims that Phillipe must under no circumstances, reveal his unassuming nature.
The audience is treated to a marvellous glimpse at the pomp and excesses of
royal Paris. The wonders of modern technology are truly praiseworthy as one
witnesses the King's 'doubles' scenes, which are beautifully seamless. There are shades of
the children's tale 'The Glass Splinter' when witnessing the obvious differences between
the two identical kings.
Gorgeous costuming adds to the realism; brilliant colours offset the dim lighting, shining
swords used effectively with a minimum of bloodshed. This
is a film whose plot or characters unfortunately cannot reach the depth of
Dumas' novel due to time constraints, but is extremely spirited and entertaining, and
contains a fascinating twist that only clever viewers
will guess before the end. Here we have a novel brought to life by master actors perfectly
chosen in their roles. This beautifully designed and well acted period piece favours the
standard quick and neat Hollywood style of novel adaptations, but nevertheless makes for
an enchanting film.
Titanic
Review By Julie Jansen
"It still gets me every time... to
see the sad ruin of the great ship
sitting here, where she landed at 2.30 in the morning, April 15, 1912,
after her long fall from the world above."
If you havent seen this one yet, do yourself a favour, as old Molly would
say. Its true it is almost 3 hours long but the time passes quickly:
director James Cameron has delivered a masterpiece obviously subjected to
judicious editing to ensure that the final product was absolutely perfect.
And it comes very close.
Titanic is absolutely exhilarating, triumphant and heartbreaking. Water
lovers will find this film a truly joyous experience in cinematography and
special effects. A beautiful tale of it is backed with a very beautiful
Irish score, used to heartbreaking effect during the sinking of the great
boat.
Leonardo Di Caprio is Jack Dawson, the nomad artist who saves Kate
Winslets monied but deeply disillusioned dreamer from a future that
although financially secure, would have been soul-destroying. In four
days, they forge a bond that lasts more than 80 years after the ship has
sunk and sets the scene for a very fascinating tale of true love,
survival, and human treachery.
Seen on the big screen, Titanic is a fantastic display of physics in
action - seeing the great ship break up in water is absolutely
breathtaking. Computer technology enhances the professionalism and visual
presentation of the 86-year old phenomenon to which over 1500 lives were
lost. You feel as if you are one of the doomed passengers - this reviewer
literally held their breath when everyone went under!!! Some viewers may
cry Big Manly Tears at the happy ending, others will feel less emotionally
drained but Titanic is guaranteed to be an enjoyable experience in modern
film for all who discover it.
A definite must-see on the big screen.
Oscar And Lucinda
Review By Julie Jansen
Ralph Fiennes is touching as the
emotionally fragile and enthusiastically
child-like Oscar, linked by obsessive-compulsive gambling destiny to
Cate Blanchett's Lucinda, an unorthodox and vivacious party girl with a
clear vision of the future. Together the two redheads make a scintillating
study of two pixilated and imaginative souls who fit together but not in
the confines of the general world which condemns their rule-breaking,
vitality-borne attitude to life.
The pair decide to build a glass church, representing a union of what each
of them loves individually: her, the creative fragility of glass; him, the
unseen strength of his Christian faith. They hatch the biggest wager of
their lives in a bid to prove to each other their deep love.
Nevertheless, it's understandable why American audiences haven't taken a
shine to Gillian Armstrong's latest period drama. Despite a talented cast,
beautiful Australian bush settings and imaginative costuming, the film
drags in places and there are several unnecessary short scenes which
detract from the main purpose of Peter Carey's message.
The panoramic settings of rural NSW are a delight for the eyes (with the
exception of 'Devon, England' which looked strangely similar to Byron Bay
or surrounding area) and the costume department has gone to successful and
creative lengths to accurately depict the uniqueness of the key characters
and also several smaller ones as well.
A special mention should be made of Josephine Byrne whose small role is
skillfully acted - the megabitch that destroys an innocent life garners
the required response of disgust in the viewer.
This is one film that almost leaves a mark on the audience but fails to
connect them with the characters more deeply and as a result of this, and
the editing flaws, it won't necessarily suit the big screen. It will
however, enchant video viewers considerably with its unique colonial
Australian charm.
Night Falls On Manhattan
Review by Emma Milde
Perfection is an unachievable goal. Despite our most humble efforts, we find that we are fallible and systems are fallible. This is the realisation that Sean Casey (Andy Garcia) must face as assistant to the assistant District Attorney, or public defender. Sean defends the lowest and most unglamorous ends of the criminal spectrum, being at the bottom of the lawyer scrap heap, and is far from satisfied with his work, making deals with criminals, and loosing cases that are important to him.
Sean's world changes when his father, a detective involved in a stakeout of a resident drug dealer, is shot during the bust, along with two other policemen. During the confusion, the drug dealer escapes unoticed, and all hell breaks loose when the District Attorney finds out, and wants the cop killer found, at any cost. Meanwhile the District Attorney takes Sean aside, ready to prepare him for a must win, easy case: the trial of the drug dealer, who shot his father. It becomes a publicity stunt, but also a gamble when Sam Vigoda (Richard Dreyfuss) a high profile criminal lawyer, jumps to defend the drug dealer in a seemingly no win case, and in the process draws attention to a scandal involving bigger players, pay-offs and revenge amongst police ranks. The story gets blown wide open to gossip and cover-ups, lies, deciet and the emergence of tainted evidence in the trial. The drug dealer's guilt shines through, and he is found guilty, but the real story of police involvement in the drug trade continues to take a growing emphasis.
After the trial Sean takes the spotlight, and ulitimately moves up the ranks in an almost too quick and too easy climbing of the DA ladder that favours popular press and notoriety, rather than experience. A love affair is also formed between Sean and one of the criminal lawyers, but really dulls the movie, and confuses the storyline, loosing its momentum for a while.
Still, in all of this, Sean is a somewhat romantic lawyer, who wants to bring every crooked cop to justice, no matter who is involved, friends or family - justice is his only goal, and he will follow the path wherever it may lead. Sean wants justice to be a black or white issue, but is forced to find contentment by other means, accepting the grey areas, the heartache and appreciating the struggles and celebrating the success in seeking justice, rather than actually attaining justice.
"Night Falls" is not sensationalist, or looking to make a political statement about police corruption, but is a slow and compelling crime drama. It doesn't involve the audience in solving the crime mystery, or subsequent cover-ups, but presents a story about crime, which some movie-goers may find disappointing. Despite this, it is well told, and the primarily male cast produce intense characterisations, that help identify with their plight, Ron Liebman is a standout, and Sean and his father's relationship pulls at the heart strings, as it stumbles around deceit and loyalty issues.
The Beautician and the Beast
Review by Julie Jansen
A modern twist on the old fairytale rarely is better than the original but I'll take this version anyday over the syrupy dross dished out nightly as a child.
Fran Drescher (with a voice that is becoming strangely more like Harvey Fierstein's every day) is the beauty-school teacher mistakenly offered a post in a small Eastern-bloc principality, as governess to the President's 4 children. Armed with knowledge only in the arena of styling tools, hair fudge and hot rollers, she quickly uses her natural charm to warm the children to her and eventually, thaw the cold heart of Boris Pochenko (Dalton).
The kids themselves are interesting characters: a young bub not yet able to talk in full sentences, a 10 year old who is plump but not lacking in confidence and sweet charm (must be the freckles), a rather overly-amorous teenage son who fails in his attempt to seduce the new governess; and the 17 year old Kristina, frustrated as her father thwarts her bond with a young patriot diametrically opposed to her father's military ruling style.
Drescher plays pretty much herself in this film but delivers the comedic goods flawlessly and there are many, many hilarious moments in this film, many of them due to Drescher's impeccable timing and wide smile. Dalton is very comfortable in this different role - the fierce but cold militant turned human being - which gives him the opportunity to try a variety of emotions and guises and he proves extremely adept at comedy. Unfortunately Drescher gets most of the laughs, but it is easy to spot a potential new fork in the former Bond hero's career forming.
Excellent costuming (of course Fran's dress sense is nothing less than her usual eyebrow-raising style), interesting sets and a storyline that neither panders simplistically to the younger audience or tries too hard to be political, make this film one of the much better quality 'family' films to emerge in quite a while.
The humorous dialogue is often to the grown-up side, but the storyline is not complex and there are plenty of sight gags to keep the kiddies amused. An extremely enjoyable movie, the Beautician and The Beast is suitable for everyone (including teenagers), which is a pretty rare event these days.
Sexing The Label
(Froxoff Films)
Reviewed By Rastous
Should people be catergorised by their sexuality? "Sexing The Label" deliberately sets out to treat Love, Gender and judgement on the basis of the Sexual "Label" as a phenomena affecting us all, and presents them in an entertaining and accessible way.
Using the Sydney Mardi Gras as a springboard, "Sexing The Label" dives in far queerer waters, and explores characters that subvert the "accepted" sexual labels of Gay/Straight/Male/Female, and introduces a new perspective on Gender, Love, Feminism and sexuality (bent, straight and otherwise....) They're helped and guided along the way with comments by one of the most enduring Gay icons, Quentin Crisp.
"Sexing The Label" is a provocative and confronting insight into the transgendered community, and presents a side to the Mardi Gras never shown by mainstream media. While it may shock and disturb some viewers, this excellent short documentary should not be missed.
Volcano
Review by Julie Jansen
Special effects get more spectacular all the time
and there's nothing more fascinating than seeing miles of realistic lava oozing its way
through Los Angeles and destroying everything it touches. Real-life geologists have
praised the creators of this film for the seemingly authentic volanic liquid and rightly
so.
There are a few unfortunate flaws but they do not detract from the fact that the audience will enjoy 2 hours of tension and genuine suspense. Almost all of the roles are very superficial, particularly those of the women, of which there are far too few. Tommy Lee Jones' portrayal of Operating Emergency Management director Mike Roark - the man with complete power over the city in the event of a natural disaster - is pretty much his The Fugitive role in disguise, and at least twice the females' costumes are too obviously created for the male audience. Director Mick Jackson attempts to cram as much as possible in 2 hours and the result is a film which is poorly scripted, badly characterised but nevertheless exciting in its effects and momentum.
Anne Heche is very promising in her strong role as the seismologist who helps save a city, and there is considerable talent to be found in smaller roles which add lustre to the film, with performances that are measured in discreet quality rather than quantity. One role which strikes a chord is that of the Transit Department supervisor who starts out as an obnoxious know-all and rises to become a true hero in the face of indescribable horror and tragedy.
The genuinely suspenseful moments will have the audience accidentally crushing their Coke and one scene, where an entire building is pulled down in record time to block the lava flow, makes excellent use of models and distant photography to create astounding realism.
Some very interesting comments are made on the disposability of modern American city life and some very intuitive scenes discuss race relations. Watch out particularly, for the interaction between a young African-American who almost comes to blows with a biased street cop, and how the situation resolves.
I'm absolutely certain I saw Patrick Duffy portraying a newsreader towards the end, but maybe not. Let Liquid Review know if you figure it out....
The Leading Man
Reviewed By Rastous
Successful playwright, Felix Webb (Lambert
Wilson) has a new play, "The Hit Man", in rehersal. Directed by his old friend
Humphrey (Barry Humphries), it is already being hailed as a masterpiece, but Felix can't
enjoy his success. He has fallen passionately in love with Hilary (Thandie Newton), a
beautiful, feisty young actress, and is preparing to desert his perfect family - his wife
Elena (Anna Galiena), and three lively children. His intolerable situation is further
complicated when Humphrey casts hilary as one of the leads in "The Hit Man".
Enter Robin Grange (Jon Bon Jovi), a charismatic young Hollywood actor making his London
theatre debut. Robin is attractive, charming and dangerous, and soon inveigles his way
into everyone's life. He ingratiates himself with the cast and, quickly grasping Felix's
dilemma, sets about weaving his web of mischief. He suggests that if he were to seduce
Elena, she would be distracted from Felix's affair, regain her self respect, and perhaps
even willingly part from the unfaithful husband to whom she clings. Initially Felix is
outraged, but as the tension mounts with Hilary, reluctant to continue as the second woman
in his life, he succumbs.
Watching in horror as Elena responds to Robin's perfectly plotted seduction, and tormented
with suspicions that Hilary has also fallen under Robin's spell, Felix spirals towards a
kind of madness. Desperate to regain control of his life, he indulges in a grand
theatrical gesture, but fate intervenes, and both Felix and Robin learn that real life
doesn't always follow the script.
The Leading Man was directed by John Duigan, who's also responsible for such Australian
films as The Year My Voice Broke, Flirting and Sirens, and the TV mini-series, Vietnam.
Outstanding performances by all the cast, and especially Jon Bon Jovi, make The Leading
Man well worth seeing.
The Leading Man is distributed by REP Distribution, and opens around the country from May
22.
The Saint
Reviewed By Julie Jansen
Based on the 60's television series of the same name, The Saint stars Val Kilmer as the
cheerful larrikin spy who experiences more changes of wigs, costumes and cities in one day
than most of us experience in our lives. The opening scenes of the film are absorbing and
touching with the very talented Adam Tyler portraying a masterful young Simon Templar, who
learns the tricks and life of a lonely spy from a very young age. Growing up in a
forbidding convent school, he is loyal to himself alone and answers to no-one; a trait he
carries through to adulthood. It is never quite clear who he works for, but he is always
successful in his mission.
The director underplays the use of gadgets, choosing instead to use the very best of
realistically available technology. The script centres less on the glamorous life of a spy
and more on the difficulties of being a human being outside of the mission. Australian
director Phil Noyce could well have chosen to do a Mission Impossible clone, but has
wisely chosen to go beyond the realm of the average spy film.
Kilmer is right at home as the charming but still-waters-run-deep Templar, whose
comfortable bachelor existence and mysterious world is shaken upside-down by a woman who
sees beyond the costumed surface, to the vulnerable man beneath the mask. Kilmer is
brilliant in his various (but sadly too few) guises: watch for a brief but amusing return
to his role as Doc Holliday in Tombstone and Jim Morrison in Doors.
Elizabeth Shue is outstanding as the not-so-stereotypical physicist: female, intelligent,
sensitive and a believer of magic and miracles (which, after all, is what science is
about). She is genuine in her role as the missing half for which Templar has spent his
whole life searching: he once believed in miracles, she still believes. The chemistry
between Shue and Kilmer is fascinating and adds to the quality of the film.
The Saint's plot is interesting but let down by poor scene transitions. The supporting
roles are at times a tad ridiculous but most of the focus is on the excellent main stars
so little is lost. Excellent scenery shot in London and Moscow add to the gutsy action and
there are a few truly suspenseful scene which make The Saint an enjoyable and worthy
experience.
The English Patient
Reviewed By Julie Jansen
Deservedly the winner of 9 Academy Awards this year,
this film has set the standard for romantic
epics for years to come. The plot is carefully constructed in a non-linear flashback
formation that enhances the sensitivity of the script. Ralph Fiennes is excellent as the
elusive archaeologist with a mysterious Hungarian aristocratic past, who begins a doomed
affair with dignified society wife Katherine Clifton (Kristin Scott-Thomas, who is far
more perfectly suited to this role than the rumoured big studio choice of Demi Moore).
What essentially creates the magic of the English Patient - and is responsible for its
huge success - is the spectacular cinematography. The desert scenes in particular are well
depicted, realistic and even when architectural models are used, a sense of reality is
preserved. The director has gone to great pains to ensure the reader feels at home with
every scene, and the film itself works because it has been filmed in the exotic locations
of El Mahidia, Tunisia and Italy.
Juliette Binoche is deeply sensitive as the caring nurse Hana who brings lights to a dying
man's last days, but the future talent to watch for is Naveen Williams, who as Kip the
English-Indian bomb squad soldier, helps Hana discover lasting love. All the supporting
cast bring considerable experience and maturity to their roles and the script flows very
smoothly, creating a film that is a pleasure to enjoy.
William Shakespeare's Romeo and
Juliet
Director: Baz Luhrmann
Stars: Leonardo De Caprio, Claire Danes, Brian Dennehy & Pete Postlethwaite
Reviewed By Julie
Jansen
Here is a flawlessly crafted, acted and
visually stunning film, which has made Shakespeare a joy to consume more than 400 years
after its first performance. Made fresh again for a modern audience, Romeo and Juliet will
introduce to a generation raised on comics and video clips, a timeless tale relevant to
any century.
The film remains true to the original script, a tale of two rival families: Capulet (with
Claire Danes as Juliet) and Montague (Romeo, played to perfection by Leonardo di Caprio).
Filmed in modern-day Mexico City- a continent well suited to the energy, heat, and power
of the story - Shakespeare's fictitious town of Verona is host to a never-ending brawl
between the younger Capulets and Montagues. There are slight shades of Pulp Fiction with
the young rivals adorned in hip clothing, haircuts and shiny pistols.
Luhrmann remains faithful to the tragic ending of Shakespeare's tale of twin-soul lovers
but throughout the film the audience is treated to modern twists and settings. The
supporting actors play their roles with sufficient maturity and comedy, with the result
being a movie that deeply and personally involves the audience without being too heavy
either. Director Luhrmann is to be commended for resisting the temptation to indulge in
tawdry sex scenes, unnecessary nudity, excessive violence or maudlin, lengthy and
over-emotional solo speeches.
The entire script is written in Shakespearean English, a treat for the ears and quite
hilarious in places. Although difficult to follow during the initial scenes, it is easily
picked up and indeed a refreshing change for the jaded movie-goer and a key component of
the overall success of the film.
Leonardo De Caprio who is the shining star carrying this vehicle with a talent few actors
in recent years have displayed. De Caprio's Romeo is one of unqualified intensity,
heartbreaking emotion and an unusual mix of adult sensuality and childlike innocence. De
Caprio is probably the finest actor to appear in Hollywood in 10 years, and will
undoubtedly be the one to watch in future roles.
Every single actor plays their part with a deep understanding of the role, and no single
scene is wasted. Possibly the best film in the mainstream box office in the last 18
months, Romeo and Juliet is an absolute must-see.