Sydney

"Sydney" is the first film from director Paul Thomas Anderson better known as the director of "Boogie Nights", this years loathed and loved "Magnolia" and several Fiona Apple videos. This film is essentially about a man who seems to pick up kids off the street (John C. Reilly, Gwyneth Paltrow) and teach them the ways of the casino and gambling and helps them out. Sydney knows everything about everything, the man is flawless, or is he? Paltrow is good as a waitress who just can't stop prostituing herself. Reilly is funny and sweet as John the serrogant son of Sydney. Jackson is slimey, sleazy and somehow likeable as only Jackson can be. And of course Philip Baker Hall as Sydney is amazing. "Sydney" is merely a taste of what was to come from this young director. There are some long steadicam shots and there is the funny, Tarantinoish (minus much of the swearing and less pop culture references) dialogue. Anderson knows how to use a camera and editing to their full effect and make a scene that could be boring if directed by anyone else, exciting. Look for cameos from many future Andersonites (Philip Seymour Hoffman, Robert Ridgely) The film is a cut above most crime thrillers, this one is more light hearted (for a crime movie, it's not light hearted for say a romantic comedy, no no :), funny and even touching in some parts. If you are a fan of Anderson rent this, see how he has increased his creativity and grown on his talents since this film. If you are not a fan of Anderson rent this, cause if the things you didn't like about Magnolia were the long running time and some pointless steadicam shots, you'll be happy to see this one is little over 1 hour 40 min and only has several long steadicam shots that are used for a reason. Listen for the great score by "Boogie Nights" composer Michael Penn and "Magnolia" composer Jon Brion and a Christmas song at the end credits by Penn and his wife, "Magnolia" soundtrack star Aimee Mann.

I adore and respect the opening scene. All stories need to start somewhere, and this one started with style, in a setting that most of us have frequented...a Denny's Restaurant basically.

Throughout the film, we are made acutely aware of the precious value of food, a bed, coffee, cigarettes, cable movies, and companionship, for someone who has been deprived these things before. Most of us probably take them for granted,unless we have been down-and-out like one of the film's protagonists.

But think about how relieved you feel on a long road trip, when you stop at a motel, and partake of these things, after being trapped in your car for hours. They satiate us and bring a sense of domestic tranquility.

I needed more character development. Sorry, to those who loved this film. I get the fact that it was a portrayal of "outsider" life and the casino-bubble, but I still needed to know a bit more about how these people became who they are. The plot device of not knowing why the hell Hall is being a caretaker, worked for a while, but eventually I became annoyed with guessing.

The final explanation was anti-climatic and cheap. Come on, you can do better than that.

Hoffman stole the show with his very brief cameo. Jackson was his usual profane loudmouth stereotype. Hall and Reilly did not have to stretch much, but they were still quite adept at portraying unspoken sadness. I'm not a fan of Paltrow, but she conveyed the torn nature of her character quite well.

One other reviewer mentioned the fact that sometimes the characters don't know what to say, but that made it realistic. I totally agree. Real people rarely speak like movie characters. But in this one, the characters did speak like real people. Great job with that.

There were enough good aspects to this film, to make it worth seeing. But it is a labor to watch after a while, because not much happens, and not much is said. If you like art films, you will probably like this one. It reminded me of the work of Jim Jarmusch.

'Hard Eight' may not be one of Paul Thomas Anderson's best, his later films being more complex and more refined, but even when Anderson was not at his best he was much better than most directors in that position.

For a feature film debut, 'Hard Eight' is still very promising. It does have moments of lethargic moments, the odd clunkiness and the ending is somewhat anti-climactic, but the potential seen throughout the film is enormous and from the start it is obvious that 'Hard Eight' knows its own strengths and makes the most out of them.

It looks impeccable, even when not very experienced in directing at this particular point Anderson's distinctive style is evident here with the long takes and tracking shots that suggest a Martin Scorsese influence. It's a beautifully shot film, and even if not as refined as his later films Anderson shows great promise as a director, showing a knack for visual style and excellent direction of actors. The music is suitably atmospheric, sometimes quirky, sometimes ominous and sometimes elegant.

Much of the script is very naturalistic and remarkably feels like the characters are talking like real people. It's tautly structured and thought-provoking too. 'Hard Eight' is a film quite light on plot, but rich in characterisation, not a bad thing considering that it is essentially a character study. The storytelling is still quite nicely done though, and while the characters are not the easiest to like there is a compelling realism about them and they're interesting.

Phillip Baker-Hall is magnetic in the lead role, in a performance of towering sincerity, while John C. Reilly matches him very well with an appealing gawky charm, Gwyneth Paltrow is charming and moving and Samuel L. Jackson brings plenty of flesh and succeeds in making the character too much of a retread of previous characters. Philip Seymour Hoffmann makes a very entertaining if somewhat too brief appearance.

Overall, very promising debut from Anderson though he went on to even better things with meatier material and an even more refined style. As is evident from the superb 'Boogie Nights'. 8/10 Bethany Cox

Most people didn't catch this movie when it was released (in the cinema or on video), but did discover Paul Thomas Anderson's work with the phenomenal "Boogie Nights." Make no mistake: this film is every bit as good, perhaps better, than "Boogie." It's a small film whereas "Boogie" is a huge film, but it's packed with outstanding performances (many from actors and actresses who would go on to appear in "Boogie"), a great script (and a tighter story than "Boogie"), and the same fantastic direction. Everyone who loved "Boogie," and even those who didn't, should go back and rent this film. A very stylish, moody drama/mystery.

Though he is best known for two ambitious ensemble pieces such as Boogie Nights and Magnolia, writer/director Paul Thomas Anderson was first noticed thanks to a low-key, unpretentious character study, a gem called Sydney.

The film takes its title from the main character, a lonely elder man played by Philip Baker Hall. At a diner he runs into John (John C. Reilly), a poor fella who has just lost all his money. Sydney buys him coffee, and after a little chat he persuades him to come to Reno. Once there, they manage to get a free room and under Sydney's tutelage John quickly becomes a successful gambler. All's well until he falls in love with Clementine (Gwyneth Paltrow), a waitress and part-time prostitute, and trouble ensues with a gangster named Jimmy, meaning Sydney will have to come up with something extreme to save his protégé.

For a first-time director Anderson shows great skills and confidence: even though he doesn't do much but follow four characters, he frames each shot to perfection and proves he is every bit as good as Scorsese at staging tracking shots (a thing he perfected on his next two features). But style doesn't really matter here: the important thing is that the audience cares for the story, and this essentially happens courtesy of sublime dialogue and great acting.

Anderson fought really hard to keep the movie's original title (and partially failed, which is why the film is known as Hard Eight in some countries), and the reason is clear from the beginning: the picture rests entirely on Hall's shoulders, and he carries it admirably. His performance is nuanced and genuine, and he manages to ensnare the viewer even when we are not sure what his motives are (and once they are revealed, it is not that important). Reilly is equally good, in a turn that opened his way to becoming one of the most reliable character actors in Hollywood, and the same intensity emerges from Paltrow and Jackson, the latter in particular adding extra dramatic flesh to what could have been a rehash of his more famous roles (Pulp Fiction etc.). Even Philip Seymour Hoffman, who has a brief but memorable role as a cocky gambler, gets his opportunity to shine, showing beyond any doubt that Anderson has a great eye for casting. He also knows how to write: the dialogue flows freely and seamlessly between the players, spawning some of the most affecting, realistic conversations ever heard in a movie, although the director can't resist the temptation to insert a couple of in-jokes as well (in one scene, Hall mentions two characters he wound up playing in Boogie Nights and Magnolia).

Overall, a very good film, and a must-see for PT Anderson fans: like many other directors who rose to fame in the '90s (Tarantino, Rodriguez, Bryan Singer) he proved right from the start what he was capable of, and has never disappointed the audience since that.