Casa2000

It is not always possible to sit down to a film without any expectations, ones which were not already predetermined by the summer hype, the big star, and the guarantee of at least $8's worth of entertainment. I spent my summer buying into the movies (I do not classify them as films) which created these illusions of genuine pleasure, entertainment which does not necessarily attempt to indulge into the true emotions which one can conceivably experience at the cinema. I saw The Phantom Menace, Austin Powers, Big Daddy, The Blair Witch Project, and others I cannot even remember. Yes, I contributed to their $100,000,000.00+ grosses, and for the most, came out satisfied to the extent at which I expected.

It might seem rather unorthodox, or even hypocritical, that I am beginning a review of a box-office blockbuster by seemingly distinguishing it from the other summer blockbusters, yet there is a method to my madness. I, in fact, did not pay $8 to see "Notting Hill" in the theatre; I had no desire to. In mid-November I discovered that it was now available for rent and I had 2 hours to kill and $4 to burn.

At present, as I type my perception of the film, I am watching it for the second consecutive time. At this moment, Anna Scott (Julia's character) has just leaned in to give William their first kiss. When I saw this for the first time two hours ago, I was taken by her action. It was completely unexpected, it was a defining movement for both their characters, it communicated to me that I am going to love this film.

I have never been a particular fan of Julia Roberts nor Hugh Grant, never making the effort to see any of their movies for the express purpose of witnessing their performances or staring at their manufactured images of beauty. Yet, in "Notting Hill", Julia had the ability to captivate me with her smile; it complimented every feature of her face and displayed a charm which I do not usually affiliate with the silent expression of a perfect smile. Her entire performance as the misunderstood Hollywood dreamgirl, which one would believe to be quite nature for her, was strikely original and unexpected moving. I was mesmerized by her gestures, her quite stares as looks in upon the lives of those she envies most. It is not her character that is original: the Hollywood actor wanting to return to a mundane and simplistic lifestyle has, of course, been done before. Although, it was not her identification with the character which appealled to me, it was her ability to express the competing lifestyles within a single individual trapped in the limelight: image vs desire, body vs heart, false aura vs true love. Her dialogue did not seem to come from a script. This is also a sign of great writing, creating the natural instead of the contrived. Yet, it was the method by which Julia allowed herself to live through her character, using that experience as a famous Hollywood actress to deliver a truly wonderful, sweet and loving performance.

"Notting Hill" is a romantic comedy but it is not structured around conventions. Its comedy is not designed to created side-splitting humour, its story does not circulate entirely around an unattainable love, although one may perceive that. It is a character-driven film, but not to any exaggerated extent. They are not put into situations which seems completely unlikely and ultimately results in a larger than life scenario which thrives on the audience's desire to experience the escapist's side of a situation, one that they would never be able to contend with. "Notting Hill" is structured by simple situations, believeable circumstances that would conflict a relationship between a Hollywood megastar and an everyday Romeo. As the events culiminate, my emotions grew and I was in tears by the time the film ended, with my complete emotional expression coming as the last frame faded to black.

I loved the premise of the film; the music was choice and perfectly paced and timed; the direction was subtle and very comprehensive. My favourite films are those which make an emotional connection with me, those which cause me to evaluate myself and ultimately determine that I long for certain elements in that film. I may learn that I really want to fall in love with someone who will rest her head on my side, using one hand to gently stroke my fingers and her other to rub our unborn child. The context of the film may not create ideal circumstance for me, I may not want to necessarily surrender my heart to a misunderstood Hollywood actress seeking a love which cannot exist within her current lifestyle, but great films work to stretch beyond their structured boundaries, and express desires that are in fact transferable and can exist, to a certain, simplistic extent, outside of the presented narrative. Films, although for the most part are fictional stories, work as both mirrors and windows to our own reality, exaggerating certain themes to provide a greater and clearer examination of the world around us. It is a highly critical art form, and can be a truly wonderful, moving, and enlightening experience. "Notting Hill" does not attempt to distort reality for the purpose of increasing its entertainment value, but rather presents a story which examines an evolutionary process of love, and the circumstances which may accompany such an endeavor. The characters may be creations of a screenwriter, but the basic experiences and emotions of those two characters are not restricted to them. We all can find our true love, and it may come from a situation as unexpected as that presented in "Notting Hill".

Lucas' highly anticipated (to put it lightly) Star Wars, Episode 1: The Phantom Menace doesn't live up to the hype, but what the hell could. The media and the fans have made such a fuss about the prequel that the filmmakers were automatically put in a bad situation: trying to make a film that could provide enough entertainment to justify a one month wait in line.

I went in with no high expectation and didn't come out with anymore. The film looks great with its 2000 visual effects, Williams' score is fantastic (as usual), the sound and spectacle are at the peak of motion picture capabilities. But, Lucas himself is out of practice, not sitting in the director's chair for over twenty years. The film lacks any emotion and the characters do not stretch any further than when they were on the page. The scenes which could have (and should have) been very moving, such as when Anakin leaves his mother, were flat and lifeless. Jake Lloyd was surprisingly well cast, as well as Neeson and Portman. Every single minor character was horrible and hard a great deal of difficulty delivering Lucas' exposition and completely scripted dialogue.

The film's best scene was when Liam Neeson's character and Dark Maul were saber fighting while Obi Won watched on the other side of the force field. Obi Won witnessed his mentor's death which impulsed him into a rage which resulted in Maul's demise. This explains why Obi Won allowed Vader to kill him in the original Star Wars: because it was Luke's destiny to witness his master's death and was the catalyst for all events which lead to his achievement of a Jedi Master.

Although, most of the film is just special effects with a weak story, an unexploited conflict and lifeless characters. I enjoyed it in terms of watching a film but there was nothing to feel - but this is Star Wars we are talking about here, it is far from Titanic on many, many levels.