snc1980

As if we didn't have enough ghostly little tales in the past few years (The Sixth Sense, Stir Of Echoes, etc.), another comes down the pike with an interesting twist - the main character doesn't see ghosts, but she definitely knows when people are going to die. The idea for the story supposedly based upon the psychic abilities of Virginia Faulkner Thornton (Billy Bob Thornton's mother - she predicted his Oscar win), `The Gift' is a trim little package of murder, trepidation and the supernatural, peppered with an all-star cast and crew of Oscar winners (Swank, Thornton) and nominees (Blanchett, Kinnear, Harris).

Annie Wilson (Blanchett) is a humble mother of three quietly making a living in fictional Brixton, GA off of social security from her husband's death and performing psychic readings for the townspeople. Her recitations consist of one burning taper and a bizarre deck of cards with various symbols (star, circle, wavy lines, etc.) printed on them. Her abilities as a clairvoyant are honest and true but (wouldn't you know it) Brixton is a backwoods community full of conservatives, skeptics and zealous Christians that believe the reserved widow is a practicing witch. One man in particular named Donnie Barksdale (Reeves) harbors a special hatred for Annie because his battered wife Valerie (Swank) has been visiting the psychic's home on a regular basis to receive readings. Donnie harasses Annie, making direct threats to her and her sons and even breaking into her home to creatively render the word `Satan' with her cosmic deck. When Jessica King, the aristocratic daughter (Holmes) of a Brixton bigwig, turns up missing Annie has a vision that will help the BPD locate her. She is at first snubbed by the chief of police for her marked reputation but when authorities finally take a chance on her, Jessica's body is found on Donnie Barksdale's property and he is immediately taken into custody for her murder. There's a bigger game afoot however, and Annie must single-handedly solve the mystery before the killer attempts to silence her permanently.

Blanchett does her best to look simultaneously frightened and determined as Annie, a woman who is against all odds. We already have proof of her abilities as a dramatic actress (Elizabeth, Paradise Road) and she is not disappointing here, sporting a decent Georgian accent and making her character human despite her inhuman abilities. Holmes looks too young for her role and it's hard to fathom the chemistry between the 22-year-old actress and her 38-year-old co-star Kinnear (my husband even remarked that she looked like a teenager wearing her mother's clothes). It's even more weird to see her sexing up `Office Space' yeeah-guy Gary Cole (who is 45) in a scene involving bathroom whoopie. I guess it's just another case of casting directors pitting a beautiful ingénue with a handsome fogey twice their age (a la Richard Gere/Winona Ryder, Bo Derek/Dudley Moore, etc.). Kinnear does an admirable job as Wayne Collins, but a project like this is too simple an undertaking for his acting skills; most likely it was a labor of love for him. Reeves actually manages to himself seem intimidating as Donnie Barksdale and Swank plays another dimwitted southerner minus the sexual identity crisis. Oscar nominee Rosemary Harris makes a brief appearance as Blanchett's intuitive grandmother.

Ribisi is the standout here as the erratic Buddy Cole, a man who is consistently on the precipice of a psychological meltdown. He is a blubbering, tearful mess one minute, hot-blooded and precarious the next. What is really compelling about Ribisi's performance is the inner turmoil divulged in his roan and expressive eyes. We know all we need to know about his character's struggle to stay sane simply by surveying his face. Not a lot of actors have the ability to embody their characters in this way and Ribisi is to be commended for making Buddy a dynamic and remarkable individual. Although he has yet to get the Academy's attention, the future looks incredibly bright for him and it's almost certain that he will become a hot commodity in the next few years.

`The Gift' delivers most of what it promises but sci-fi/horror fans will most likely be disappointed by its artsy approach (compliments of director Sam Raimi), its failure to scare the bejesus out of them (The Gift has MINOR scares) and its sad predictability. The story manages to point an accusing finger at everyone but about halfway through (or even sooner, depending how attentive one is) it's easy to identify the culprit. If you're looking for a semi-suspenseful flick with a distinct and talented cast, `The Gift' is an ideal and enjoyable rent.

This is Kevin Smith's gleeful romp into the most controversial of all subjects: religion. He takes some nasty shots at the orthodox methods and belief structure of Catholicism in this cranked-up bit about two renegade angels trying to get back into heaven after disobeying their Creator and being cast down into the hell of all hells: Wisconsin. Smith has the tendency to be preachy and overwrought in detail of his thoughts and opinions when writing a script, and this movie allows him the perfect opportunity to sound off from all sides through his diverse and zany cast of characters. Everyone is their own religious theorist that has the tiresome tendency to progress simple dialogue into long-winded sermons stuffed chock-full of theological banter. It is easier to take this time around since he has splashed his nonconforming and adroit sense of humor about the place, lightening a situation when it becomes too thought-provoking or dense for some.

His amusing supposition of God is that the Divine One is an avid skeeball player and, once in a while, converts his Almighty aura to human flesh so he can drop in at the local arcade to play a few rounds. But evil forces are about, and three dirty little adolescents called the Stygian triplets beat the Almighty's frail body to the ground with their hockey sticks of death, capturing the deity and holding him against his will as a threat to the stability of Heaven and Earth collectively. Skip to an airport somewhere in hell, er, Wisconsin where Bartleby (Affleck) and Loki (Damon), the above-mentioned renegades, begin their plotting to get back into paradise. The process of how and why is explained as Bartleby convinces Loki to get involved and they begin their trek across the US to reach a small church in New Jersey, the place where the existing backdoor lies in wait for their entry.

Little do they know, an ancestor of the Almighty has just been chosen to prevent their reentry and her name is Bethany Sloane, a simple citizen of Earth who works at, of all places, an abortion clinic. If the criticism of the medieval and unruly ethics of Catholicism wasn't enough, Smith has the balls to include the hostile, rampant war between pro and anti-abortionists. She is visited in the night by the Holy host Metatron, the substituted voice of God and messenger to her quest. This is when the movie gets good. Smith couldn't have done better when he cast Alan Rickman as the sardonic seraphim. His raw delivery but gentle presence is a pleasure above all the casting choices he has made in the past, good and bad. Rickman alone is worth the watch with his rapier wit and polished experience.

Granted, Ben and Matt are the perfect pair, seeing as how they're childhood friends, personal acquaintances of the director and have already shown what they're capable of in their Oscar-winning film `Good Will Hunting'. The only problem I have with them is that when they're working together in this movie, it's like watching `Good Will Hunting' again, only with a livelier story line and a deeper moral. They seem to be playing themselves more than they're playing Bartleby and Loki. This `He's my best buddy and I want to include him in every movie I'm starring in' crap is getting a little old. Of course, with an Oscar sitting on their mantle, they won't need to find each other jobs for quite a while.

Chris Rock was a hilarious original as Rufus, the 13th apostle of God purposely unaccounted for in the bible because of his race. He drops the usual mottled routine he heralds on-stage, substituting a subtler charm and snappier humor. George Carlin is perfect as the sanctimonious highflyer Cardinal Glick, a vicar who doggedly campaigns the modernized and worship-friendly changes to Catholicism. His transition into Glick's ambitious persona is done with the greatest ease, proving once again that he is a wonder to behold on a movie set as well as in front of a live audience. Carlin's skilled comedic prowess makes donning the priestly robes the ultimate irony and he delivers the holy haughtiness of Glick's character with dexterity and precision.

Who I really thought was an interesting choice on Smith's part is Linda Fiorentino as the Last Scion. Judging by her failures in movies such as the forgettable 80's fop `Gotcha!' and the cheap sex thriller `Jade' (not to mention acting alongside David Caruso), Linda is taking a step up from martyrdom as Bethany, the bitter child of God who cures her lost faith by saving the world from total damnation. There are other actresses who had their foot in the door for this part, but Linda seems to have that special, sexy charm that can't be compared.

Smith has done well so far, picking himself up when he's fallen down, but not without words. How can we expect any less of our belligerent and quarrelsome screenwriter? His mouth has gotten him many places, and may his working mind continue to keep him decent in his writing.