Guy-Pearce Movie Reviews
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Old Favourite
A Good Family Movie
Great Movie!
A great movie, with a great cast...
L.A. Confidential--Confidentially, a great film!
Great Film NoirBased on the James Ellroy novel, "LA Confidential" is written and directed by Curtis Hanson, a terrifically talented writer and director. Hanson dives the audience right into the story, engrossing us in the story from the outset. His vision of LA in the 50's feels real- no rose-colored looks at 1950s America here. The crooks are violent, the cops either corrupt or (mostly) well-intentioned, and all is not well in paradise. Los Angeles may be paradise, but there is sure trouble in it.
Give Hanson credit for casting too. The cast is terrific- James Cromwell (one of my favorite actors), Kim Basinger, Kevin Spacey (another one of my favorites), Danny DeVito, David Strathairn, and newcomers Guy Pierce and Russell Crowe are outstanding. Crowe in particular does an outstanding job, taking a character that seems at first glance to be a big thug and making him into a complex hero.
Everything else about "LA Confidential" is right on the money. Film noir at its finest.
A great movie, with a great cast...
L.A. Confidential--Confidentially, a great film!
Great Film NoirBased on the James Ellroy novel, "LA Confidential" is written and directed by Curtis Hanson, a terrifically talented writer and director. Hanson dives the audience right into the story, engrossing us in the story from the outset. His vision of LA in the 50's feels real- no rose-colored looks at 1950s America here. The crooks are violent, the cops either corrupt or (mostly) well-intentioned, and all is not well in paradise. Los Angeles may be paradise, but there is sure trouble in it.
Give Hanson credit for casting too. The cast is terrific- James Cromwell (one of my favorite actors), Kim Basinger, Kevin Spacey (another one of my favorites), Danny DeVito, David Strathairn, and newcomers Guy Pierce and Russell Crowe are outstanding. Crowe in particular does an outstanding job, taking a character that seems at first glance to be a big thug and making him into a complex hero.
Everything else about "LA Confidential" is right on the money. Film noir at its finest.
A great movie, with a great cast...
L.A. Confidential--Confidentially, a great film!
Great Film NoirBased on the James Ellroy novel, "LA Confidential" is written and directed by Curtis Hanson, a terrifically talented writer and director. Hanson dives the audience right into the story, engrossing us in the story from the outset. His vision of LA in the 50's feels real- no rose-colored looks at 1950s America here. The crooks are violent, the cops either corrupt or (mostly) well-intentioned, and all is not well in paradise. Los Angeles may be paradise, but there is sure trouble in it.
Give Hanson credit for casting too. The cast is terrific- James Cromwell (one of my favorite actors), Kim Basinger, Kevin Spacey (another one of my favorites), Danny DeVito, David Strathairn, and newcomers Guy Pierce and Russell Crowe are outstanding. Crowe in particular does an outstanding job, taking a character that seems at first glance to be a big thug and making him into a complex hero.
Everything else about "LA Confidential" is right on the money. Film noir at its finest.
Marvelous! Hilarious and immensely watchable!When a pre-Hollywood Guy Pierce steps out of Priscilla (the so-named bus) wearing a dress made of pink and blue flip flops, I fell off my chair in fits of laughter.
This film came out of Austrailia just before "To Wong Fu, Thanks for Everything, Love Julie Newmar" and is, well, darn it, just 100 times better at a similar theme (picture a Bob Hope/Bing Crosby road movie, with the characters all in drag).
The funny lines are hilarious. The acting superb (Oscar winner Terrence Stamp plays a post operative transsexual for heaven's sake!).
Pre-Matrix Hugo Weaving must perform a drag show for his ex-wife (real woman). He takes along pre-L.A. Confidential and Memento Guy Pierce, and post Billy Bud/Superman II Terrance Stamp to assist. The three purchase a bus and drive across Austrailia meeting an assortment of characters, both pleasant and unpleasant (the bar scene in their first hotel is an absolute scream!).
You must see this film!
"You'll laugh so hard, your lashes will curl...!"The film begins in Sydney, Australia, where Mitzi, Felicia and Bernadette agree to take a trip across the Australian outback to the very remote resort known as Alice Springs to perform there. To get to Alice Springs, the trio purchases a run-down bus that is large enough to carry all of their clothing and other necessities. Unfortunately, the bus isn't in great shape and not everyone in the Australian outback likes the trio. However, they meet some very interesting people including Bob (Bill Hunter), his cantankerous wife Cynthia (Julia Cortez), a boisterous bartender named Shirley (June Marie Bennett), a rough miner named Frank (Ken Radley) and a fun Aboriginal man (Alan Dargin). Memorable scenes in the film include the trio performing for Aboriginal people, the impromptu kite, Felicia singing on top of the bus, Cynthia's bar performance, Bernadette out-drinking Shirley, Mitzi ('Tick') meeting his son Benji (Mark Holmes), Tick's wife Marion (Sarah Chadwick) & Benji watching the trio perform in Alice Springs, the trio climbing a mountain in dresses in the Australian outback, and flashbacks to Bernadette's (Ralph's) childhood.
The costumes used in "The Adventures of Priscilla, Queen of the Desert" earned the film an Oscar for Best Costume Design and nine award nominations from the Australian Film Institute (AFI), of which it won two for Best Costume Design and Best Production Design. Two of the AFI nominations were Best Actor nominations for Hugo Weaving and Terence Stamp. Two other AFI award nominations were for Best Director (Stephan Elliott, who also wrote the film) and Best Film. Overall, I rate "The Adventures of Priscilla, Queen of the Desert" with 5 out of 5 stars. The film also has a superb soundtrack that includes Alicia Bridges' "I Love The Night Life", Gloria Gaynor's "I Will Survive", Patti Page's "If the Sun Don't Shine", Abba's "Mamma Mia", Vanessa Williams' "Save The Best for Last" and Giuseppe Verdi's operatic "E Strano! Ah Fors E Lui".
Priscilla queen of the surprise cinema entertainment
Marvelous! Hilarious and immensely watchable!When a pre-Hollywood Guy Pierce steps out of Priscilla (the so-named bus) wearing a dress made of pink and blue flip flops, I fell off my chair in fits of laughter.
This film came out of Austrailia just before "To Wong Fu, Thanks for Everything, Love Julie Newmar" and is, well, darn it, just 100 times better at a similar theme (picture a Bob Hope/Bing Crosby road movie, with the characters all in drag).
The funny lines are hilarious. The acting superb (Oscar winner Terrence Stamp plays a post operative transsexual for heaven's sake!).
Pre-Matrix Hugo Weaving must perform a drag show for his ex-wife (real woman). He takes along pre-L.A. Confidential and Memento Guy Pierce, and post Billy Bud/Superman II Terrance Stamp to assist. The three purchase a bus and drive across Austrailia meeting an assortment of characters, both pleasant and unpleasant (the bar scene in their first hotel is an absolute scream!).
You must see this film!
"You'll laugh so hard, your lashes will curl...!"The film begins in Sydney, Australia, where Mitzi, Felicia and Bernadette agree to take a trip across the Australian outback to the very remote resort known as Alice Springs to perform there. To get to Alice Springs, the trio purchases a run-down bus that is large enough to carry all of their clothing and other necessities. Unfortunately, the bus isn't in great shape and not everyone in the Australian outback likes the trio. However, they meet some very interesting people including Bob (Bill Hunter), his cantankerous wife Cynthia (Julia Cortez), a boisterous bartender named Shirley (June Marie Bennett), a rough miner named Frank (Ken Radley) and a fun Aboriginal man (Alan Dargin). Memorable scenes in the film include the trio performing for Aboriginal people, the impromptu kite, Felicia singing on top of the bus, Cynthia's bar performance, Bernadette out-drinking Shirley, Mitzi ('Tick') meeting his son Benji (Mark Holmes), Tick's wife Marion (Sarah Chadwick) & Benji watching the trio perform in Alice Springs, the trio climbing a mountain in dresses in the Australian outback, and flashbacks to Bernadette's (Ralph's) childhood.
The costumes used in "The Adventures of Priscilla, Queen of the Desert" earned the film an Oscar for Best Costume Design and nine award nominations from the Australian Film Institute (AFI), of which it won two for Best Costume Design and Best Production Design. Two of the AFI nominations were Best Actor nominations for Hugo Weaving and Terence Stamp. Two other AFI award nominations were for Best Director (Stephan Elliott, who also wrote the film) and Best Film. Overall, I rate "The Adventures of Priscilla, Queen of the Desert" with 5 out of 5 stars. The film also has a superb soundtrack that includes Alicia Bridges' "I Love The Night Life", Gloria Gaynor's "I Will Survive", Patti Page's "If the Sun Don't Shine", Abba's "Mamma Mia", Vanessa Williams' "Save The Best for Last" and Giuseppe Verdi's operatic "E Strano! Ah Fors E Lui".
Priscilla queen of the surprise cinema entertainment
Good ....but not for eveyone
Finally - a movie with some depth
an absolute triumph of the human spiritThe storyline is told in a dual manner switching betweent the present and flashbacks. Some have stated that the pace is slow- well this isn't an action flick (thankfully), yet the story consumed me and I never felt like it was dragging.
Guy Pearce plays a shrink who is coming home to bury his father, with whom he had a very spotty relationship with. Upon his return, we learn of his childhood and the events of a girl that have haunted him into adulthood. Helena Bonham Carter plays a mysterious woman who may or may not be real (the girl) who aids in the healing process.
The film's ending is one that is open to interpretation, yet powerful regardless of your ultimate conclusion.
In all, a great film that deals with loss, regret, breaking free from parental molds and the healing process in trying to move forward in life.
Because of his condition, Leonard essentially lives his life in short, present-tense segments, with no clear idea of what's just happened to him. That's where Memento gets really interesting; the story begins at the end, and the movie jumps backward in 10-minute segments. The suspense of the movie lies not in discovering what happens, but in finding out why it happened. Amazingly, the movie achieves edge-of-your-seat excitement even as it moves backward in time, and it keeps the mind hopping as cause and effect are pieced together.
Pearce captures Leonard perfectly, conveying both the tragic romance of his quest and his wry humor in dealing with his condition. He is bolstered by several excellent supporting players, and the movie is all but stolen from him by Pantoliano, who delivers an amazing performance as Teddy, the guy who may or may not be on his side. Memento has an intriguing structure and even meditations on the nature of perception and meaning of life if you go looking for them, but it also functions just as well as a completely absorbing thriller. It's rare to find a movie this exciting with so much intelligence behind it. --Ali Davis
"Did I Tell You About This Before?"Ensconced in a cheap motel while he attempts to sort out his new life, Leonard must rely on Polaroid photographs and quickly scribbled notes to keep himself in the game. The particularly pertinent information he uncovers he tattoos on himself (a man's initials, a license plate number, whole sentences that remind him what he's after), thereby insuring that no vital piece of the puzzle that is now his life will be lost. But it's a tricky business, especially when it comes to remembering who he can trust. All he has to go on are his instincts and his notes; and constantly having to deal with people he's just met-- even if it is the same ones, over and over again-- puts him in a perpetually vulnerable position. He knows there are those who would exploit him because of his condition, so along with everything else, he has to keep his guard up every minute. How can he know who to trust when everyone he deals with is a stranger? It's a sticky wicket, to be sure; but he's determined to play out the hand he's been dealt, one way or another.
Pearce gives a solid performance as Leonard, a guy to whom the phrase "living in the moment" takes on a whole new meaning. He makes Leonard convincing by never overplaying him, and by maintaining a kind of subtly reserved resignation laced with tentative anxiety; traits you would expect of someone in his condition. And that Pearce can make that critical connection with the audience, making Leonard someone to whom they can relate, is especially important, as this is a real "What would I do in that situation?" kind of film.
Also very effective is Carrie-Anne Moss as Natalie, the woman whom Leonard may or may not be able to trust. Natalie becomes something of a mystery within the mystery, as she comes across as rather enigmatic initially; one of those characters you can't quite figure out, which allows you to identify with Leonard even more, because you know he's trying to decipher her motives, as well. The same can be said for Teddy, played by Joe Pantoliano, who becomes another constant enigma in Leonard's life. It's another case of "Who is this guy, really?" and, again, along with Leonard, it keeps you guessing until the end-- which is really the beginning. But it's that kind of movie; a first rate mystery, from end to beginning (and when you see it, you'll understand). At any rate, by the time it's over you have a pretty good idea of what fits where. Natalie, at least, tips her hand at one point; Teddy, though, is a bit tougher to figure out. And if you don't believe me, just ask Leonard.
The supporting cast includes Mark Boone Junior (Burt), Stephen Tobolowsky (Sammy Jankis), Harriet Sansom Harris (Mrs. Jankis), Callum Keith Rennie (Dodd) and Larry Holden (Jimmy). This is one of those movies that leaves you asking yourself, "Who could think up something like that?" while at the same time you're saying "Yeah! give me more!" To say the least, "Memento" is emotionally involving and thoroughly engrossing, and Nolan wisely throws in some humor to give some respite to the constant, underlying tension (at one point Leonard says to Teddy, "Did I ever tell you about Jankis?" To which Teddy replies, "Only every time I see you."). Reminiscent of "Jacob's Ladder," but taken to the "Nth" degree, this is one film that will keep you talking about it-- and debating-- for a long time. And in another unusual twist, the real irony begins once the film is over, because at that point you're able to identify with Leonard even more-- there's just so much you have to remember to arrive at your final conclusion. Your best bet? Watch it again. That's the magic of the movies.
an enigma inside an anomalythe narrative backmasking, cinéma vérité techniques and soft peddling of its melodramatic aspects didn't grab too much box office (or academy award nominations), but the film has managed to gain a wider audience based on it's artistic merits: some subtler reflections on the nature of the detective as icon and genre, the contradictions of the filmatic urban avenger and some engaging acting performances--the enigmatic, chameleon-like guy pearce, a suitably sullen carrie-anne moss and a cheerfully perverse joe pantoliano.
actually watching it provides the kind of jolting calm effect akin to last year's other under-rated, alienation-effect piece, "the man who wasn't there."
the movie doesn't go for cheap shocks or pat answers and hence, requires a modicum of intellectual engagement--quite a change from being beaten over the head with grand mal digital explosions and third-grade fart jokes. "memento" is the kind of patient, emotionally mature film you don't see too much of anymore (at least at your local gigaplex).
Amazing!!!
Because of his condition, Leonard essentially lives his life in short, present-tense segments, with no clear idea of what's just happened to him. That's where Memento gets really interesting; the story begins at the end, and the movie jumps backward in 10-minute segments. The suspense of the movie lies not in discovering what happens, but in finding out why it happened. Amazingly, the movie achieves edge-of-your-seat excitement even as it moves backward in time, and it keeps the mind hopping as cause and effect are pieced together.
Pearce captures Leonard perfectly, conveying both the tragic romance of his quest and his wry humor in dealing with his condition. He is bolstered by several excellent supporting players, and the movie is all but stolen from him by Pantoliano, who delivers an amazing performance as Teddy, the guy who may or may not be on his side. Memento has an intriguing structure and even meditations on the nature of perception and meaning of life if you go looking for them, but it also functions just as well as a completely absorbing thriller. It's rare to find a movie this exciting with so much intelligence behind it. --Ali Davis
"Did I Tell You About This Before?"Ensconced in a cheap motel while he attempts to sort out his new life, Leonard must rely on Polaroid photographs and quickly scribbled notes to keep himself in the game. The particularly pertinent information he uncovers he tattoos on himself (a man's initials, a license plate number, whole sentences that remind him what he's after), thereby insuring that no vital piece of the puzzle that is now his life will be lost. But it's a tricky business, especially when it comes to remembering who he can trust. All he has to go on are his instincts and his notes; and constantly having to deal with people he's just met-- even if it is the same ones, over and over again-- puts him in a perpetually vulnerable position. He knows there are those who would exploit him because of his condition, so along with everything else, he has to keep his guard up every minute. How can he know who to trust when everyone he deals with is a stranger? It's a sticky wicket, to be sure; but he's determined to play out the hand he's been dealt, one way or another.
Pearce gives a solid performance as Leonard, a guy to whom the phrase "living in the moment" takes on a whole new meaning. He makes Leonard convincing by never overplaying him, and by maintaining a kind of subtly reserved resignation laced with tentative anxiety; traits you would expect of someone in his condition. And that Pearce can make that critical connection with the audience, making Leonard someone to whom they can relate, is especially important, as this is a real "What would I do in that situation?" kind of film.
Also very effective is Carrie-Anne Moss as Natalie, the woman whom Leonard may or may not be able to trust. Natalie becomes something of a mystery within the mystery, as she comes across as rather enigmatic initially; one of those characters you can't quite figure out, which allows you to identify with Leonard even more, because you know he's trying to decipher her motives, as well. The same can be said for Teddy, played by Joe Pantoliano, who becomes another constant enigma in Leonard's life. It's another case of "Who is this guy, really?" and, again, along with Leonard, it keeps you guessing until the end-- which is really the beginning. But it's that kind of movie; a first rate mystery, from end to beginning (and when you see it, you'll understand). At any rate, by the time it's over you have a pretty good idea of what fits where. Natalie, at least, tips her hand at one point; Teddy, though, is a bit tougher to figure out. And if you don't believe me, just ask Leonard.
The supporting cast includes Mark Boone Junior (Burt), Stephen Tobolowsky (Sammy Jankis), Harriet Sansom Harris (Mrs. Jankis), Callum Keith Rennie (Dodd) and Larry Holden (Jimmy). This is one of those movies that leaves you asking yourself, "Who could think up something like that?" while at the same time you're saying "Yeah! give me more!" To say the least, "Memento" is emotionally involving and thoroughly engrossing, and Nolan wisely throws in some humor to give some respite to the constant, underlying tension (at one point Leonard says to Teddy, "Did I ever tell you about Jankis?" To which Teddy replies, "Only every time I see you."). Reminiscent of "Jacob's Ladder," but taken to the "Nth" degree, this is one film that will keep you talking about it-- and debating-- for a long time. And in another unusual twist, the real irony begins once the film is over, because at that point you're able to identify with Leonard even more-- there's just so much you have to remember to arrive at your final conclusion. Your best bet? Watch it again. That's the magic of the movies.
an enigma inside an anomalythe narrative backmasking, cinéma vérité techniques and soft peddling of its melodramatic aspects didn't grab too much box office (or academy award nominations), but the film has managed to gain a wider audience based on it's artistic merits: some subtler reflections on the nature of the detective as icon and genre, the contradictions of the filmatic urban avenger and some engaging acting performances--the enigmatic, chameleon-like guy pearce, a suitably sullen carrie-anne moss and a cheerfully perverse joe pantoliano.
actually watching it provides the kind of jolting calm effect akin to last year's other under-rated, alienation-effect piece, "the man who wasn't there."
the movie doesn't go for cheap shocks or pat answers and hence, requires a modicum of intellectual engagement--quite a change from being beaten over the head with grand mal digital explosions and third-grade fart jokes. "memento" is the kind of patient, emotionally mature film you don't see too much of anymore (at least at your local gigaplex).
Amazing!!!
Because of his condition, Leonard essentially lives his life in short, present-tense segments, with no clear idea of what's just happened to him. That's where Memento gets really interesting; the story begins at the end, and the movie jumps backward in 10-minute segments. The suspense of the movie lies not in discovering what happens, but in finding out why it happened. Amazingly, the movie achieves edge-of-your-seat excitement even as it moves backward in time, and it keeps the mind hopping as cause and effect are pieced together.
Pearce captures Leonard perfectly, conveying both the tragic romance of his quest and his wry humor in dealing with his condition. He is bolstered by several excellent supporting players, and the movie is all but stolen from him by Pantoliano, who delivers an amazing performance as Teddy, the guy who may or may not be on his side. Memento has an intriguing structure and even meditations on the nature of perception and meaning of life if you go looking for them, but it also functions just as well as a completely absorbing thriller. It's rare to find a movie this exciting with so much intelligence behind it. --Ali Davis
"Did I Tell You About This Before?"Ensconced in a cheap motel while he attempts to sort out his new life, Leonard must rely on Polaroid photographs and quickly scribbled notes to keep himself in the game. The particularly pertinent information he uncovers he tattoos on himself (a man's initials, a license plate number, whole sentences that remind him what he's after), thereby insuring that no vital piece of the puzzle that is now his life will be lost. But it's a tricky business, especially when it comes to remembering who he can trust. All he has to go on are his instincts and his notes; and constantly having to deal with people he's just met-- even if it is the same ones, over and over again-- puts him in a perpetually vulnerable position. He knows there are those who would exploit him because of his condition, so along with everything else, he has to keep his guard up every minute. How can he know who to trust when everyone he deals with is a stranger? It's a sticky wicket, to be sure; but he's determined to play out the hand he's been dealt, one way or another.
Pearce gives a solid performance as Leonard, a guy to whom the phrase "living in the moment" takes on a whole new meaning. He makes Leonard convincing by never overplaying him, and by maintaining a kind of subtly reserved resignation laced with tentative anxiety; traits you would expect of someone in his condition. And that Pearce can make that critical connection with the audience, making Leonard someone to whom they can relate, is especially important, as this is a real "What would I do in that situation?" kind of film.
Also very effective is Carrie-Anne Moss as Natalie, the woman whom Leonard may or may not be able to trust. Natalie becomes something of a mystery within the mystery, as she comes across as rather enigmatic initially; one of those characters you can't quite figure out, which allows you to identify with Leonard even more, because you know he's trying to decipher her motives, as well. The same can be said for Teddy, played by Joe Pantoliano, who becomes another constant enigma in Leonard's life. It's another case of "Who is this guy, really?" and, again, along with Leonard, it keeps you guessing until the end-- which is really the beginning. But it's that kind of movie; a first rate mystery, from end to beginning (and when you see it, you'll understand). At any rate, by the time it's over you have a pretty good idea of what fits where. Natalie, at least, tips her hand at one point; Teddy, though, is a bit tougher to figure out. And if you don't believe me, just ask Leonard.
The supporting cast includes Mark Boone Junior (Burt), Stephen Tobolowsky (Sammy Jankis), Harriet Sansom Harris (Mrs. Jankis), Callum Keith Rennie (Dodd) and Larry Holden (Jimmy). This is one of those movies that leaves you asking yourself, "Who could think up something like that?" while at the same time you're saying "Yeah! give me more!" To say the least, "Memento" is emotionally involving and thoroughly engrossing, and Nolan wisely throws in some humor to give some respite to the constant, underlying tension (at one point Leonard says to Teddy, "Did I ever tell you about Jankis?" To which Teddy replies, "Only every time I see you."). Reminiscent of "Jacob's Ladder," but taken to the "Nth" degree, this is one film that will keep you talking about it-- and debating-- for a long time. And in another unusual twist, the real irony begins once the film is over, because at that point you're able to identify with Leonard even more-- there's just so much you have to remember to arrive at your final conclusion. Your best bet? Watch it again. That's the magic of the movies.
an enigma inside an anomalythe narrative backmasking, cinéma vérité techniques and soft peddling of its melodramatic aspects didn't grab too much box office (or academy award nominations), but the film has managed to gain a wider audience based on it's artistic merits: some subtler reflections on the nature of the detective as icon and genre, the contradictions of the filmatic urban avenger and some engaging acting performances--the enigmatic, chameleon-like guy pearce, a suitably sullen carrie-anne moss and a cheerfully perverse joe pantoliano.
actually watching it provides the kind of jolting calm effect akin to last year's other under-rated, alienation-effect piece, "the man who wasn't there."
the movie doesn't go for cheap shocks or pat answers and hence, requires a modicum of intellectual engagement--quite a change from being beaten over the head with grand mal digital explosions and third-grade fart jokes. "memento" is the kind of patient, emotionally mature film you don't see too much of anymore (at least at your local gigaplex).
Amazing!!!