Movies

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On this page, you will find a collection of movies that have inspire, console or just gave me laughs. More than just cheap entertainment, they are a lesson in perspective - lives through different sets of eyes...

:: Not in any particular order ::

Gone With The Wind There are two schools of thought about Katie Scarlett O'Hara. One is that she is a spoiled, selfish, self-centered rich girl who in the end got what she deserved. The other is that she was a strong-willed, determined woman capable of making tough decisions who fought for her family in a time when such feminine strength was frowned upon. She is a unique combination of the two. But whichever, she'll be impressed indelibly in your minds because of this spectacular movie in which nearly every scene is perfect. It's one of the most watched movies of all time and for good reason.	American Beauty What a film. It's deep, complex, funny, tragic and theatrical. Never have I been so engaged with character development in a film. Every single character, even the downtrodden wife next door makes a journey during the film, and you cannot help but empathise with them all. Bening is just utterly convincing as Carolyn, the wound-up, stressed out, and ultimately lost and lonely mother and wife. I was delighted with the discoveries that Spacey, as Lester, made about himself during the course of the film, and I envied him the fun and abandon he realised he could have, just in time. And as for those neighbours.... I didn't twig about the Colonel (Chris Cooper) right til the end; and even he, with his monstrous nature, made me feel sorry for him. Best of all, this is not a film that makes everything cringingly obvious. The audience is required to think things out for themselves - what a novelty that is for Hollywood, where even a film like Saving Private Ryan can be soured by an unbelievably cheesy ending. Nothing cheesy at all about American Beauty - even though it offers a satisfying resolution for its main characters. Go and see this film. And when you consider that it is the first film Mendes has ever directed, it will make you wonder what on earth you have been doing with your mediocre lives. It is a masterpiece.
The English Patient Set during World War II, this story concerns a horribly scarred, amnesiac mapmaker who is found by Bedouins in the desert and then transported to Italy. When Allied nurse Hana devotes herself to caring for the mysterious patient in an abandoned monastery, his story of a intense love affair with a colleague's wife begins to unfold in a series of flashbacks. This award winning epic is beautifully filmed with awe-inspiring scenery that includes sweeping desert vistas, crowded village markets, and serene Tuscany roads. All of the acting is incredible, but none is on par with Fiennes. His intensity is palpable and yet he hardly speaks. Katherine complains to the Count that, "You speak so many bloody languages, and you never want to talk." My personal favorite in the film is Kristin Scott Thomas who brings intelligence and a subtle sensuality to her part.	A Streetcar Named Desire "...ravishment of the tender, the sensitive, the delicate, by the savage and brutal forces of modern society." "A Streetcar Named Desire" (1951) is one of the few masterpieces of American cinema - a true work of art. The story unfolds in New Orleans where former teacher of english, Blanche DuBois (Vivien Leigh) comes to live with her sister, Stella (Kim Hunter) and brother-in-law, Stanley Kowalski (Marlon Brando) in their small, run down apartment in a poor section of town. When Blanche and Stanley meet for the first time, the sparks begin to fly almost immediately, setting the tone for the entire film. Blanche's intentions to leave behind her unsavory past and begin anew (having been run out of her town of Oriole) are at odds with her brother-in-law's determination (intensified by his suspicion that Blanche has duped Stella out of an inheritance) to expose her social airs and genteel manner as a cover for a life of depravity and immorality. The conflict between the two characters builds to a shocking and pathos-filled climax resulting in the disintegration of the last fragile thread of Blanche's sanity. I have to admit the first time I saw "Streetcar", I didn't care for it. I wanted to see Viv in a film other than GWTW and when I saw her in this film, I hated it immediately. Her delicate and unbalanced Blanche DuBois is a far cry from the strong-willed Scarlett. Watching this years ago, I saw a madly impassioned play depicting unheeded fervor and unrequited yearnings - a fierce romance. I was much struck by the distinct transformation that my own reaction to this story had undergone over the years - as if living in the world years longer had completely altered my perspective. It's far more heart wrenching to view this movie now - it disturbs me to the quick, and on some deep intangible level. Perhaps I was not yet mature enough to fully appreciate or understand the meaning of this brilliantly insightful play. Brilliant in every aspect, and a landmark in acting. This is Vivien's most complex and riveting performance, if not the most unforgettable character that have ever graced the silver screen. So many unforgettable truths in the picture: "Deliberate cruelty is unforgivable," is unforgettable. And Blanche's final line -- "Whoever you are, I've always depended upon the kindness of strangers" -- is heart-wrenching.
Sense and Sensibility Emma Thompson's adaptation of Jane Austen's novel and Ang Lee's direction of it prove to be a stunning and talented combination. This story about the complexities of love, society, and family won my heart in the first few minutes with its excellent acting, smart dialogue, and lush period setting.The movie focuses primarily on the two oldest sisters of the Dashwood family - Elinor (Emma Thompson) and her younger sister Marianne (Kate Winslet.) Elinor is practical and independent-minded, caught between her societal position as a woman and what she wants for herself. In contrast, Marianne is impetuous, artistic, passionate; she pursues her emotions as though nothing else matters. When both sisters fall in love with different men, they react very differently to the awakening of their affections.The acting in this film could not have been any better. Although critics have complained that Emma Thompson is too old for the part of Elinor, she at once dispels all doubts with her expert performance. She becomes Elinor so thoroughly that it's difficult to imagine another actress tackling this role. As the romantic Marianne, Kate Winslet is charmingly breathless; she captures the essence of her character with seemingly no effort. Hugh Grant is awkwardly sincere as Edward, and the normally sinister Alan Rickman portrays with heartbreaking honesty the love-struck Colonel. To bring all this talent together, Ang Lee provides nuanced direction that captures both the beauty and the humanity of Austen's novel.On the surface, this is a quiet movie, but underneath the turmoil of life - whether in Austen's time or ours - simmers. Viewers who enjoy character-driven films should love it.
The Piano "The Piano" is as peculiar and haunting as any film I've seen. It tells a story of love and fierce pride, and places it on a bleak New Zealand coast where people live rudely in the rain and mud, struggling to maintain the appearance of the European society they've left behind. It is a story of shyness, repression and loneliness; of a woman who will not speak and a man who cannot listen, and of a willful little girl who causes mischief and pretends she didn't mean to. It is one of those rare movies that is not just about a story, or some characters, but about a whole universe of feeling - of how people can be shut off from each other, lonely and afraid, about how help can come from unexpected sources, and about how you'll never know if you never ask.
Silence of the Lambs You'll never think about fava beans and a glass of Chianti in the same way again. With a chilling performance by Anthony Hopkins (and another superb one by Jodie Foster), you'll even feel guilty being fascinated by the antagonist. But as Hannibal Lecter points out, "All good things to those who wait" and what started over 10 years ago with five time Academy Award winner, Silence of the Lambs, has now become one of the most interesting series of movies about the nature of evil that Hollywood has made.	Casablanca They didn't know they were making a classic that would still be loved sixty years later.We know they made a movie that re-captures our heart each and every time we see it. This movie subtlety reminds us that freedom, truth and justice sometimes require great sacrifice.
Kramer vs. Kramer Winner of five Academy Awards, Kramer vs. Kramer remains as powerfully moving today as it was when released in 1979, simply because its drama will remain relevant for couples of any generation. This is perhaps the finest, most evenly balanced film ever made about the failure of marriage and the tumultuous shift of parental roles. Because Robert Benton (director) refuses to assign blame and deals fairly with both sides of a devastating dilemma, the film arrives at equal levels of pain, growth, and integrity under emotionally stressful circumstances. That gives virtually every scene the unmistakable ring of truth--a quality of dramatic honestly that makes Kramer vs. Kramer not merely a classic tearjerker, but one of the finest American dramas of its decade.	Out of Africa Intelligent. Majestic. Romantic. Those are three words you don't often get to use together when describing typical Hollywood movie fare. This is one of those rare occasions when they perfectly describe the two hour and forty minutes of epic motion picture romance and adventure that Sidney Pollack, Robert Redford and Meryl Streep have given us here. Based on the real-life story of Danish writer Isak Dinesen and big game hunter Denys Finch Hatton, this seven-time Academy Award winning film chronicles their star-crossed love affair in British occupied Africa circa 1914.
White Oleander Michelle Pfeiffer has always had a sheen of silky cool, but the icicle of willpower that glints in her eyes as Ingrid in "White Oleander" is something new, like a frigid blowtorch, imperious, brainy and tauntingly close to madness. The movie, an unusually layered emotional drama that will be labeled a chick flick by idiots, is partly a duel of eyes and wills between Ingrid and teen daughter Astrid (Alison Lohman). Ingrid, a man-eater and hater, is ready to blow. She murders her latest obsession (Billy Connolly), and draws a maximum prison sentence, which launches Astrid on a hard-luck string of homes.	One Flew Over The Cuckoo's Nest Review to follow
The Fabulous Baker Boys An inspired casting gimmick, a wonderful mood, a grown-up love story--all this in The Fabulous Baker Boys, but the only thing anybody ever talks about is Michelle Pfeiffer on top of a piano. Granted, it's a showstopper: clad in a slinky dress, Pfeiffer rolls around on the Steinway while she purrs out a languid version of "Makin' Whoopee." Adding to the seductive vibe is the fact that she's not singing to the audience, but to the sullen piano player (Jeff Bridges) whose fancy she has captured. Bridges and his real-life brother, Beau, play two lounge entertainers whose act has grown stale; they're not above doing "Feelings" for the tourist crowd. They've hired songbird Pfeiffer (who does her own sexy singing) to spice up the routine, a strategy that pays off in spades. The three actors are terrific, with the fabulous Bridges boys playing neatly off their own sibling rhythms. Writer-director Steve Kloves captures the feel of second-rate Seattle clubs, and Dave Grusin's jazzy score keeps propelling the film forward. The story itself might have come from a 1940s romance, yet Kloves and his actors keep it unusually modern and thoughtful. And then there's Michelle Pfeiffer rolling around on top of a piano....	Taxi Driver Review to follow
An Affair To Remember The story is familiar. A man and woman have a whirlwind romance. They want to make sure what they are feeling is real so they agree to separate for a period of time to try to decide if this is true love or not. They will meet again on top of The Empire State Building if they decide it is. Tragedy ensues and they are kept apart. They reunite tearfully at the end of the final reel. The story is familiar because they've made this movie three different times over the course of sixty years.	Frankie and Johnny Review to follow But I must say, here's one of Michelle Pfeiffer's greatest performances -- that alone makes this movie a gem. ; )
The Lord of the Rings - Return of the King Review to follow	Memento Leonard (Pearce) has a memory disorder: Ever since his wife (Fox) was raped and murdered, he can't create new memories, so he must use a series of Polaroids, notes and tattoos to remind himself where he is, who the people around him are and what he should be doing as he seeks revenge. The film begins with a short backwards scene in which someone gets killed. Then the narrative splits off heading alternatively backwards and forwards in time until we get to the central, climactic scene in which all the loose threads are sorted out with a serious jolt. There are surprises at every turn, and it's no mean feat to keep it all clear. But our attention is rewarded with a stunningly gripping story full of intelligence and wit. Nolan directs superbly, capturing tiny details with clever camera work and design that echo Hitchcock, among others. And as the story unfolds, builds and accelerates, there's a real emotional punch to it all as well. The script is sharp, funny and very astute. And the performances are all first-rate. Pearce holds us right with him in each scene; and it's great to see fine actors like Pantoliano (The Matrix), Tobolowsky (The Insider) and Harris (Frasier) shine in roles beyond what we've come to expect. Superb in every way.
Love Actually	Remains of the Day
Spirited Away Spirited Away is an animation film of the highest technical calibre. A visual triumph, both in set and character design, providing a delightful cast of spirits, spectres, talking animals and imaginative hybrids. Spirited Away celebrates basic and simple human virtues, which the more cynical among us may dismiss as obvious. But as with all things that are basic and seem obvious, there is a real danger in overlooking them and this is exactly where Miyazaki cautions us. Those who scoff at the outside world might well find the solution to their problems inside themselves.	The Grave of the Fireflies Isao Takahata's powerful antiwar film has been praised by critics wherever it has been screened around the world. When their mother is killed in the firebombing of Tokyo near the end of World War II, teenage Seita and his little sister Setsuko are left on their own: their father is away, serving in the Imperial Navy. The strength of the film lies in Takahata's evenhanded portrayal of the characters. A sympathetic doctor, the greedy aunt, the disinterested cousins all know there is little they can do for Seita and Setsuko. Their resources, like their country's, are already overtaxed: anything they spare endangers their own survival. As in the Barefoot Gen films, no mention is made of Japan's role in the war as an aggressor; but the depiction of the needless suffering endured by its victims transcends national and ideological boundaries.
The Sound of Music Julie Andrews. Christopher Plummer. Rogers and Hammerstein. The lovable children. The Austrian countryside. The musically-gifted Von Trapps. The kindly nuns. The singable tunes. These are just a few of our favorite things.	Notorious