agc110

An unconventional film that viewers will love, hate, or both. A serial-killer suspense movie that is low on action, high on brooding atmosphere and scenery (Western Nevada in winter!), and with its undercurrents of deep cover and religious extremism owes a lot more to "Witness" than to, say, "Se7en". Jack Nicholson does wonderfully in the hackneyed role of the borderline-alcoholic maverick retired detective who has become obsessed with finding the real solution to a "closed" case. Without being too specific, some viewers will feel let down by the extremely non-Hollywood bathic ending. From the outside, we are left feeling frustrated for various characters who in different ways are left thinking they are right when in fact they are wrong, wrong when they are right, and who have failed to receive their just deserts or vindication as the case may be. 7/10.

Echoes of "The Boys From Brazil" and "Name of the Rose" in this fast-moving, gorgeously-set (small alpine towns near Grenoble) French thriller, which has a really nasty conspiracy in a closed community as an underlying subplot. Two interleaved storylines involve two detectives in towns 100 km apart. Young, feisty Kerkerian (Cassel) is investigating the desecration of the tomb of a young girl. Meanwhile, supersleuth Niemans (Reno) is drafted in from Paris to assist local gendarmes in solving a nasty torture-murder of an academic at a small private University. More bodies turn up, suspects become victims, and eventually the paths of the two cops cross. Visually utterly beautiful, particularly the College, the Library, and the glacier/ice tunnel scenes. Characters strongly drawn and sympathetic. One pretty straight fight scene, little dwelling on active perpetration of violence, but much lingering on the unpleasantly gory aftermath. This is particularly the case with the rather gratuitous opening sequence, which is overdone relative to the rest of the film. My main cavil involves the poor ending, where a last-minute surprise twist creates more loose ends than it ties up. Nevertheless, so watchable that this one gets 9/10.

9 OUT OF 10!!!! We went to catch the matinee preview of "Shrek". We were still giggling by the time we got home afterwards. Two hours later, we dragged a friend out and went back for the evening show. Some of the shock value was lost, but we caught a few of the background sight gags we missed the first time, and anticipation of some of the other scenes had us in tears before they even happened. Interesting to see the different audience reactions of different age groups, too. This is a *very* funny movie, but it should be noted that most of the kiddy humour is on the burp/fart and yucky dining habits level - Shrek is rather closely related to Raymond Briggs' Fungus the Bogeyman without the orange mohawk. The dialogue and main action quips are mainly aimed at adults and sophisticated kids. One little voice in the afternoon audience piping up "WHAT's he compensating for?" cracked me up...

Be warned that this movie is a non-stop send-up of all things Disney. If predictability and saccharine is your cup of tea, you may not like it. On the other hand, if you are cynical about theme parks and like the idea of fairytale classics getting the Monty Python treatment, you'll love it. Every time a scene looks familiar, it means it is about to go pear-shaped. And it's not just old classics that get the treatment. I spotted (mis)quotes from films that are just being released, both Disney and non-Disney. You name it, it gets an affectionate pie in the face at some point in "Shrek".

As a fairytale, however offbeat, "Shrek" is tighter plotted and better characterised than most Hollywood dross.The parodic twists, a love story subplot that owes more to Shakespeare's comedies than fairytale formula, and the "ugly is the new beautiful" Message more than make up for the derivativeness due to extensive quotation.

As for the acting, confinement to voice-overs keeps the egos of Myers and Murphy in check, and they do a fantastic job as the big fat green smelly recluse and the obnoxiously manic donkey respectively. Diaz is great as a feisty princess who reminds me of Lloyd Alexander's Eilonwy crossed with Lara Croft. Lithgow's Farquaad is a wonderful Bad Guy, modelled on Olivier's Richard III apart from his Little Problem being different. And the Fairytale Creatures...excellent, all of them. The graphics, of course, are state of the art for at least another 2 weeks. We're talking freckles, skin pores and stubble, pupil dilation, and amazing light-and-shade. They had to tone down the realism of the humanoids to stop them looking creepily android-like.

Highly recommended, except for overly precious schmalz addicts.