A Nebraskan deputy sheriff (David Morse) tries to understand and welcome his troubled brotlher (Viggo Mortensen) into his home after his return from Vietnam, but his wayward nature puts him on a course of self-destruction and in contention with everyone who crosses his path. Much of Sean Penn's directorial debut resonates, with a story inspired by Bruce Springsteen's Highway Patrolman, but the movie is pretentious and immaturely conceived, lethargic and overlong. Morse is a strong, stoic presence and Mortensen has his moments if the overall performance is inconsistent.

** out of ****

A great master (Michel Piccoli) lives in his picturesque manor in the south of France having not painted in over ten years since he halted work on his masterpiece after the storm it created with his then muse and current wife (Jane Birkin). Now, he is visited by an art dealear, a photographer, and his beautiful, independent minded girlfriend (Emmanuelle Beart) who is seen as a new source of inspiration for the artist as the storms begin to brew once more as he believes he will now be able to finish his magnum opus. Though tough going at times and with an extreme running time, Jacques Rivette's La belle noiseuse is a painstaking, incredibly in-depth look at the creative process and how during which the human factor takes its hand. Piccoli and Birkin are excellent and the gorgeous Beart offers a fearless and nuanced performanced.

*** 1/2 out of ****

Two identical, unrelated women in Paris and Warsaw (both played by Irene Jacob) are nonetheless metaphysically bonded and, when one dies suddenly from a heart condition during a music recital, the other, a music teacher, feels acute grief and sorrow while simultaneously being stalked by an aware puppeteer as part of a social experiment. Unique though specific to the director's canon, Krzysztof Kieslowski's The Double Life of Veronique is marked by its stunning cinematography, resplendent music, and a luminous, nuanced performance from the enchanting Jacob although the opaque subject is not expanded upon and left rather abstract.

*** out of ****

In an unnamed Eastern European village at the turn of the century, a meek accountant (Woody Allen) is roused from his bed by a dubious committee he has just been named to in order to patrol the streets in search of a serial killer. Meanwhile, a circus performer (Mia Farrow) leaves her unfaithful husband (John Malkovich) and has an eye opening experience in a whorehouse before joining the neurotic hero on his search efforts which quickly turn into persecutions. Allen's underappreciated Shadows and Fog, though unfocused and murky, is still funny with fine performances from Woody and Mia, brilliant black and white photography, and murky Kafkaesque 19th Century settings blended with Allen's millieu come off surprisingly well.

*** out of ****

A profile of the life of the 37th President and his tumultuous administration, starting with his humble beginnings in Stonewall, Texas and early political career leading up to two elections involving ballot-box stuffing instances, one which cost him the Senate in 1942 and another which gained him the job in 1948. From there he ascended in Washing politics through his bullish tenacity and gained the vice presidency, despite a deep rooted hatred for the Kennedys, and ultimately the unexpected Presidency which saw his massive push for his Great Society social programs but was dominated and ultimately cut short by the Vietnam War and his widely perceived mishandling of the conflict. This entry in the superb American Experience President series is a consummate look at a gruff, flawed, and human political animal.

*** 1/2 out of ****

Much to the consternation of a loving by self-involved son and an uncaring landlord, a sickly and gaunt elderly woman (Sheila Florance) is determined to live out her precious remaining time on her own terms: in her own flat smoking cigarettes, listening to old records, calling late-night talk show programs and offering aid to troubled callers, while comforting a neighbor afflicted with dementia (Norman Kaye) and enjoying the company of a compassionate nurse's aide (Gosia Dobrowlowska). Paul Cox's A Woman's Tale is a beautiful, austere presentation that favors platitudes and borders on imperiousness, but always seems to strike the right notes. It features a sublime and honest performance from Florance, who was ravished with cancer herself at the time of shooting, and a heartrending one from a sweetly empathetic Dobrowlowska.

*** 1/2 out of ****

A literate young woman, whose family has fallen on tough times, becomes a concubine to a rich nobleman and must contend with his other mistresses while learning the ropes at his cloistered estate. Yimou Zhang's Raise the Red Lantern slowly grows on you, gradually involving you in its unique story with its sumptuous visuals, a remarkable performance from Li as an off-putting though comprehensible character, and a haunting, perfectly realized climax.

*** 1/2 out of ****

A Brief History of Time documents the life and work of Stephen Hawking, featuring interviews from family, friends, and colleagues with discussions focused on topics and breakthroughs from his same named bestselling book. Surprisingly, Errol Morris' profile on the renowned physicist is more akin to the director's work done on earlier documentaries (The Thin Blue Line, Fast, Cheap & Out of Control) than later feature accounts (The Fog of War, The Unknown Known) and makes a good companion piece to the bland The Theory of Everything: where that film was almost exclusively focused on Hawking's personal life and featured little of his work, here we are shown his work in abundance in a highly impersonal presentation.

*** out of ****

Watching along with a mortified country as the occurrences of November 22, 1963 unfold, New Orleans District Attorney Jim Garrison (Kevin Costner) develops a curiosity, which will soon turn to obsession, on the questions (or lack thereof) surrounding the Kennedy assassination, a matter which will lead him to be the only person to prosecute the execution, a dangerous expedition which will cost him his reputation, nearly his family, and bring the American public no closer to the truth. Fifty years to the date of the despairing loss of John F. Kennedy, many still harbor doubts about the events surrounding his murder. While director Oliver Stone and his subject, whose book is a basis for the film (the other is a work by Jim Marrs), have become written off in more than a few quarters as paranoid looneys, JFK remains a fascinating albeit exhausting investigatory film, enhanced illimitably by the astonishing, Oscar winning editing by Joe Hutshing and Pietro Scalia. This is most evident during Garisson's lengthy closing remarks, which arrive over three hours into the picture and rehash many belabored points, but still remain exhilarating thanks largely to their labor. The film is too much at times, some of the acting is overwrought as seemingly every Hollywood star big and tall, large and small appears, but Stone must be commended for its sweeping scope, the thought provoking, difficult questions it asks, and (which the director is not too modest to point out) the congressional information act it inspired.

Adapted for the screen twice from John D. MacDonald's novel The Executioners, Cape Fear tells the story of a convicted rapist being released after a lengthy prison term who makes it his life's mission to track down the attorney who sent him up the river (in the earlier version in was a witness who testified against him, the latter his own counsel who withheld evidence) and make his life a living hell. J. Lee Thompson directed the 1962 film which is surprisingly gritty for its time and most notable for Robert Mitchum's terrifyingly believable yet naturalistic performance (it made me wonder how close this role was to his actual persona) as the vile Max Cady. Gregory Peck is strong in the opposing role, but the character is always in the right and pretty uninteresting as a result, as are the female characters who are played by absolutely horrendous actresses. Martin Scorsese's 1991 remake serves as an improvement in almost every way: the heightened direction, photography, a screenplay involving new dynamics concerning the family, and fine performances by Nick Nolte (who takes over the Peck role), Jessica Lange, and Juliette Lewis. However, Robert De Niro as Cady is so over the top and the film ultimately turns relentessly unpleasant.

Ken Burns' Empire of the Air follows the lives of Lee de Forest, Edwin Armstrong, and David Sarnoff, three men who were responsible, respectively, for the invention, expansion, and industrialization of that mass form of communication known as radio. I was expecting something of a broader scope from this minor entry in Burns' canon, but even with the narrowed scope, the documentary is thoroughly researched, presented, and illuminating nonetheless. 

Francis Ford Coppola's Apocalypse Now is a nightmarish fever dream that details one man's descent into madness in a chaotic, irrational environment and in many ways so was the making of the film. In Hearts of Darkness: A Filmmaker's Apocalypse, George Hickenlooper and Fax Bahr, in collaboration with Coppola's wife Eleanor (who provides narration from her on-set diary and secretly recorded video footage) document the tumultuous shoot on location in Philippines. From its massive delays and overages (which its director covered out of pocket), constant on-set headaches, a problematic cast (with issues ranging from rampant drug use to uncooperative stars--the outtakes with Marlon Brando are hilarious--the firing of Harvey Keitel after a few weeks, and a couple heart attacks for his replacement Martin Sheen) and coupled by the fact that Coppola seems to be apparently losing his mind. What makes this intimate, fascinating documentary all the more intriguing is that amid all this chaos, Coppola was able to fashion only one of the greatest war films of all time.

Situated on the Atlantic Ocean, at the southernmost part of Brooklyn near the western mass of Long Island, Coney Island is a small mass of land that at the end of the 19th Century became home to the first American theme park. Featuring amusements and sideshows, it was an incredibly celebrated destination for city residents and tourists, increasing in attendance every year, and fading just shortly after the close of World War II due the ever increasing mobility of society. Ric Burns' film is a loving profile of the beloved theme park, assembled from a wealth of footage which, somewhat perplexingly, doesn't always manage to completely capture one's full attention.

Prime Suspect 7: The Last Act (2006)
On the cusp of retirement, Jane draws the case of a missing teenager which she refuses to let go until the killer is brought justice. Simultaneously fraught with personal strife, including her father's illness and her own alcoholism, Jane becomes drawn to a young girl central to the case, a smart and fiercely independent sort that reminds her of herself. With "The Last Act", Prime Suspect and star Helen Mirren go out on a high note, one that could have been a masterful one had it not been for some tacky plot choices, the kind of which have marred other episodes in this series. It goes without saying that Dame Mirren is excellent once more here, and its superfluous that I'm even stating so.  Director Philip Martin does an excellent job directing, which sort of continues the new style employed by Tom Hooper in the previous outing. There is also a really nice touch in the return of series veteran Tom Bell (who died before release and to whom this installment is dedicated) and his prickly, chauvinistic chief inspector. In closing, Prime Suspect was a series that both revolutionized the modern crime series while also inspiring the cliched, unworthy elements that plague it today. In also never featured anything less than perfection from its inimitable star.
*** 1/2

Prime Suspect 6: The Last Witness (2003)
Jane once again finds herself bucking her superiors, who now try to force her into retirement, as she investigates the murder of Bosnian refugee, leading her on a journey to the Balkans and a ruthless war criminal. The sixth entry is the Prime Suspect series doesn't break any new ground as far as material is concerned, and follows the same blueprints as its predecessors, but is notable for the exceptional direction of Tom Hooper, who brings his distinct visual style to the series. Of course, Helen Mirren is excellent once again, following a long gap since the previous installment.
***

Prime Suspect 5: Errors of Judgement (1996)
Jane has been reassigned to a high crime district, but is being underused in her commission as a community liaison officer. When an aboveboard drug execution presents itself, she sees it as an opportunity to impress her commander. Things, of course, are not as straightforward as they seem, and the lead suspect proves extra wily and it soon becomes apparent there is a mole in the police department. "Prime Suspect 5" is more of the same with Helen Mirren carrying the rest of the overwrought and routine affair. An engaging supporting performance from Steven Mackintosh as the mad dog suspect help keep things in order as well.
** 1/2


Prime Suspect 4 (1995)
Part I - The Lost Child
Part II - Inner Circles
Part III - Scent of Darkness
The fourth series of "Prime Suspect" is divided into three sub-parts, with Jane working three independent cases. The first part is entitled "The Lost Child" and deals with the search for a missing child and a rush to judgement based on a prior sexual history. "Inner Circles" details the investigation into the murder of a bereft country club manager which leads to a scandal involving a housing complex. The final segment, "Scent of Darkness" follows Jane as a copycat murderer causes her to reopen the file for the case depicted on "Prime Suspect 1". Although Helen Mirren is quite good once again here, the redundant formulas have become glaring where a suspect is identified while Jane is harrassed who goes on to identify the correct perpetrator, usually the most ludicrous person imaginable. And still, "PS4" is nonetheless entertaining with Mirren standing triumphant at the center.
***


Prime Suspect 3 (1993)

Jane has transferred to head a vice squadron where the murder of a young male prostitute leads to a child sex ring implicating a devious sex solicitor, a transvestite, a seemingly noble head of a youth center, and possibly a disgraced recently retired police captain. The third installment in the "Prime Suspect" series is steeped in histrionics and replete with irritating gay stereotypes as well as outdated gay themes, yet it still remains an intricate and powerful series, with Helen Mirren continuing to lead the way with her dazzling knockout performance. I also appreciated the plotting here, and how you can't exactly pin down the plot or foresee where its going. Additions to the cast are strong as well which include David Thewlis, Ciaran Hinds, and Mark Strong, as well as the return of Tom Bell who appeared in the first installment and deftly again plays that oily character. Though maybe not quite on par on the first two entries, "Prime Suspect 3" continues to set the bar for quality television criminal procedurals.

*** 1/2

Prime Suspect 2 (1992)

As racial tensions gather over accusations of police brutality, Chief Inspector Tennison has earned the respect of her peers when a decomposed corpse is found in the backyard of a black neighborhood. To make matters more complicated, a black detective whom Tennison has had a fling with is brought over to work the case for PC reasons. "Prime Suspect 2" is a fine followup to the groundbreaking British series. Helen Mirren is as towering, excellent, and believable as ever and the incendiary plot plays out extremely well (although I though they didn't play fair with the identity of the perpetrator). "Prime Suspect 2" is a gritty and engaging film continuing the trend from its predecessor.

*** 1/2

Prime Suspect (1991)

Police procedurals have always been a standard on television, but especially today crime shows, particularly grisly forensic oriented crime programs, are dominating the airwaves. With the Prime Suspect, an excellent British series revolving around a criminal investigation, we see the bar being set for modern shows of the same nature, few of which succeed in meeting it. In a dynamic performance from Helen Mirren, we follow her character Jane Tennyson, a London investigator who has been passed over for promotion two many times due to her sex. When the beloved lead detective on a brutal homicide has a heart attack and dies, it is finally her chance to head an investigation. As things begin to point in a different direction than the original detective was heading, and the case begins to widen, she faces hostility from her colleagues both out of loyalty to the deceased and shear sexism. "Prime Suspect" functions excellently on several levels: as an investigatory program, as a character study, as an examination of sexism in the workplace, and finally as study of how bureaucracy places barricades in the way of a successful police investigation. Mirren here demonstrates her unmatched abilities as an actress and again the fact that they don't make women like her anymore as she demonstrates grit, determination, and elegance. Also making early acting appearances in the movie are Tom Wilkinson as her husband and Ralph Fiennes in a small part. "Prime Suspect" is a fine example of an intelligent cop movie that many modern ones could learn from.

*** 1/2

In 1964, a British documentary crew interviewed a group of seven year olds from various economic backgrounds and asked them about their hopes, fears, and lives in general. Every seven years since then, Michael Apted, a member of the original crew, has revisited each of these participants to catch up with them and discuss their lives. "The Up Series", as these programs have come to be collectively known, are an endlessly fascinating form of time lapse filmmaking, as we see each of the film's subjects age before our eyes, as Apted interweaves prior footage into each new film. Keeping things simple, each film is simply a sit down with each person and a catch up on their lives, as they discuss with candid honesty the turns their lives have taken. Apted resists the urge to jazz things up and is straightforward presentation only adds, rather then detracts, to overall impact of these powerful films. The stories that I enjoyed the most include Tony, a young boy who dreams of being a jockey and grows up to be a cab driver, still full of zeal; Suzy, an unhappy young woman who finds solace and happiness with her husband and children; Bruce, a boy with missionary aspiration who winds up teaching in the inner city; John, a boorish snob who remains a boorish snob but becomes involves in relief work in Eastern Europe; and then their is Neil, discontented young man who drops out of school and becomes a vagrant who well, I don't want to spoil that one. "The Up Series" is about as real and engaging a film can get and I eagerly await the next installment, due out soon, as these subjects approach the twilight of their lives.

Here is a very brief description of each installment:

Seven Up! (1964)

A collection of British seven year olds, both female and male, from different socioeconomic backgrounds are introduced and interviewed as they talk about subjects such as school, money, race, and their futures. After meeting them all individually, the children all attend a party and we see how they interact.

7 Plus Seven (1970)

We revisit the subjects at age 14, midway between childhood and adulthood.

21 (1977)

Now 21 years old, the group of people we met at 7 and 14 now have clearer ideas on life and what they want their lives to be.

28 Up (1985)

Maybe its because I am now of the same age as the subjects here, but it is this installment that the series begins to take on resonance, as its subjects have largely settled down with family and careers.

35 Up (1991)

As the subjects move closer towards middle age most are firmly rooted in their lives with a few exceptions as they begin to deal with divorce and death of their parents, and other issues while the most fascinating member of the group continues to fascinate us.

42 Up (1998)

As the subjects have now reached the midpoint of their lives, most are firmly rooted with the exception of a few extraordinary examples, one involving an incredible intersection of two of the subject's lives.

49 Up (2005)

As the hairs have grayed, the hairlines receded, and the waistlines expanded, the subjects approach 50 mostly with contentment as they embrace grandchildren, their partners, careers, and life turns.

56 Up (2012)

The participants return, mostly contented with their lots as they face retirement and brace themselves for old age.

A young hotshot ex-football player (Keanu Reeves) transfers to the L.A. bank robbery division of the FBI and is assigned to an eccentric veteran (Gary Busey) who has a wild theory that the most elusive crew is comprised of surfers who don the mask of former ex-presidents. Buying into the theory, the agent attempts to infiltrate the gang by way of a surfer chick (Lori Petty) which leads him to the centered, zen-like king of the board (Patrick Swayze) who takes him on a dangerous ride. "Point Break" is a fun and silly movie until about the 45 minute mark when the film rapidly digresses into utter ridiculousness. Kathryn Bigelow's movie is surprisingly well shot, but after awhile I wondered if the movie was to be taken seriously or taken for a farce as inane plot turns and horrendous acting become to much to bear. Honestly, I liked Swayze and supporters Busey, Petty, and John C. McGinley, but Reeves' movies consistently leave me asking myself if a better film would have resulted if he were not in them and the absolute absurdity of almost all of the plot turns here left me feeling more then a little bummed out.

"We need a two and a half hour movie about The Doors? No we don't, I can sum it up for you in five seconds: I'm drunk, I'm nobody. I'm drunk, I'm famous. I'm drunk, I'm fuckin' dead!"

Denis Leary hit the nail on the head with the above quote about Oliver Stone's movie about Jim Morrison and The Doors. While Morrison was a talented poet and singer and The Doors had some hits and were a key band of the late 60s, Morrison was such an intensely unlikable figure and his life is not interesting enough to sustain a 140 minute movie. It begins with a childhood memory of Morrison regarding a dying Indian on the side of the road during a family road trip. Cut to Jim (Val Kilmer) in his early 20s where he wanders around Venice Beach and meets lifelong partner Pamela Courson (Meg Ryan). He attends UCLA film school where he makes nonlinear and dismissed films and meets future bandmate Ray Manzarek (Kyle MacLachlan). The two partner up with John Densmore (Kevin Dillon) and Robby Kreiger (Frank Whaley) and thus begins the rise of The Doors, which is actually just a gradual freefall as Jim engages in excessive drug use, sex, alcohol, witchcraft, indecent exposure, and an unhealthy fascination with death. Stone's film is extremely well made and vividly captures the aura of the 1960s. Kilmer, a Morrison lookalike to start, engulfs himself in the role and gives a mesmerizing performance, while MacLachlan and Ryan give fine performances as well as two of Morrison's long suffering partners. The film also makes great use of The Door's songs which play throughout. The problem with the film though starts with Morrison's polarizing effect and continues with Stone's attempt to drag the film out and stuff it with prolonged trippy sequences and unpleasantries. In the end, the film is kind of like Morrison himself, leaving us with some good, but ultimately bloated with excess.