rwd4evr

Not being very familiar with the true story behind this film, I'll opt out of judging its veracity in terms of objectively defining Wuornos' character.

However - Charlize Theron has indelibly stamped her mark on the shortlist of actresses who truly morph into each new role. Meryl Streep, for example.

The film, for all its shortcomings, is riveting, mainly by virtue of Theron's portrayal. Christina Ricci and Bruce Dern are notable, as well. The seamy, downscale side of Florida is well represented, as is the unrelenting desperation of its down-and-out underclass.

It's a film worth watching several times. The dialogue is sometimes slightly muddled and hard to follow, simply because Theron is so absorbed in being Wuornos, she doesn't always enunciate well enough to be understood.

I'd like to have seen a bit more fleshing out of her background and the process that led up to her death sentence. The major flaw in the whole premise may have been that it was told entirely from her POV -- which causes some dissonance between the person we see and her ultimate fate, which comes across as quite unfair. As another reviewer said, she couldn't have been just another "misunderstood bad guy." None of the above detracts from Theron's work here. Her range is the stuff of legends.

/r

Solidly acted and enjoyable throughout. Albert Finney, Jessica Lange and Ewan MacGregor were all wonderful, and Billy Crudup was very nice to look at.

The story keeps one guessing right up to the end - and I appreciate the trailers for keeping it a mystery. The "fantasy funeral" scene near the end segued perfectly into what followed.

A sweet, very imaginative movie. Anyone who liked "Edward Scissorhands" and "Secondhand Lions" will add this one to their collection. Finney's performance also reminds one of Jack Nicholson in some of his more recent works, such as "About Schmidt" and "Something's Gotta Give."

This is an excellent movie, very similar to Terms of Endearment. It shows how even in a close-knit family, each member brings his or her unique personality and perspective.

Jason Robards is the self-made patriarch, with strong opinions about the definition of "success." He clearly approves more of his son Larry (Tom Hulce), a ne'er-do-well con artist who cannot manage his money or his relationships. Larry talks his father's party line and manages to fool him until the final minutes of the film. This misplaced favoritism is especially hard on the oldest son, Gil (Steve Martin), who lives his life in a super-responsible manner, taking on guilt for his own failings and everyone else's. Gil is especially worried about his oldest son who, at age 8, is already neurotic.

Helen (Dianne Wiest) is Gil's divorced sister, trying to raise a teenage daughter (Martha Plimpton) and an adolescent son (Joaquin Phoenix). The daughter is heavily involved with a good-natured slacker (Keanu Reeves), and Helen is terrified that she is not doing enough to keep her daughter from making an irrevocable mistake with her life.

These stories, and the other subplots in the film, are serious in nature, but Ron Howard, Ganz and Mandel combine their talents to make a fabulously lighthearted product that is also satisfyingly profound.

Toward the end of the film, Jason Robards concedes to Steve Martin that parenthood is a job that never ends, no matter how "grown-up" your kids become. This movie can reaffirm anyone of any age who is a member of any family.

/r