James-Rebhorn Movie Reviews

The real star of Snow Falling on Cedars is director Scott Hicks. Working from David Guterson's beautiful novel, and with the help of the legendary cinematographer Robert Richardson he is able to create sequences of film of such intense beauty that you almost forgive the fact that film doesn't quite come togather as a whole.

The story revolves around the death of a Caucasian fisherman in a Pacific North Western town a few years after the bombing of Pearl Harbor. An American born man of Japanese descent stands accused of his murder. Meanwhile a local newspaper man Ishmael Chambers (Ethan Hawke) watches from the sidelines, he has a vested interest because the man who is accused is married to his childhood sweetheart, his only true love Hatsue Miyamoto (Youki Kudoh). But the synopsis doesn't indicate how complex the story is, it is told with flashbacks, and flashbacks within flasbacks, making a mess of the film, but a beautiful and poetic mess.

The performance were unfairly criticised by the critics, specifically Ethan Hawke's. His Ishmael is a bitter, heartbroken and wounded war veteran, and Hawke's understated performance expresses that perfectly. A man who lives in his father's shadow, never quite living up to the Chambers name. He has lost an arm in the war, and his bitterness towards Hatsue effects his reporting of the case. Now cynical and jaded he says "Facts you can cling to, emotions just fly away".

The best performance in the film is Max Von Sydow's. He plays Nel Gud Mundson who is the accused's attorney. Saddened by the community's deep prejudice, now old and crusty he trembles with anger when he addresses the jury. Von Sydow should have been a shoe in for the supporting actor Oscar, but alas he was ignored.

This film is also more observant when dealing with rascism. You see movies like THE HURRICANE idiotically simplify a system of thought that runs through out a society into a character of a bad cop. Snow Falling on Cedars is wiser, exposing the prejudice to be a deeply held belief among all citizens of a commuinity. A prejudice that is dormant in times of piece but all too apparent in time of war.

I really wanted to love this film, something about beautiful imagery playing under a powerful musical score gets to me. Although I give the film 3 stars, I'm reccomending because it is both frustrating and inspiring. A film that demands repeated veiwings, but doesn't make that task easy. If you can appreciate dense poetic films like THE THIN RED LINE or THE ENGLISH PATIENT, you'll appreciate this one even if its not in the same league as those two masterpieces. I suspect Snow Falling on Cedars is a great film, but its structure makes that greatness hard to get to. It is a difficult film, but worth the plunge.

This is a magnificent adaptation of David Guterson's acclaimed book. Director Scott Hicks took on a gargantuan task in attempting to make the book into a film, not only because it was so powerful and well received, but because it was so lengthy and daedal. The result, however, was one of the best films I have seen in quite some time.

There were really three stories intricately interwoven into one. The main story was the trial of a Japanese American for the murder of a fisherman who owned the land wrongfully taken from the accused's father. The other two stories provide insight into critical events affecting the trial. The first involves the childhood love affair of local newspaperman Ishmael (Ethan Hawke) and Hatsue (Youki Kudoh), who is now the wife of the accused. He has uncovered information that can aid the defense, but his resentment for having been jilted by Hatsue stands in the way of his bringing it forth.

The second ancillary story is the persecution of Japanese Americans and Japanese immigrants during World War II. We see depictions of hatred and bigotry, as law abiding Japanese citizens are shamelessly herded into internment camps. This seething animus serves as the psychological backdrop for the trial, which occurs in the early 1950's when the memories of the war and lost loved ones is still fresh.

From a directorial and cinematography perspective, this film was nothing short of a masterpiece. It is a cinematic work of art. Between Hicks' brilliant camera perspectives and Robert Richardson's beautiful lighting and earth tone coloring, the film was resplendent in powerful and stirring images. Many were so artistically done that if made into snapshots they could easily hang in any art gallery. Each shot was meticulously thought out. Many involved complex shots through windows, silhouette backlighting, elaborate blocking, and scenes where actors, props and camera were all moving in different directions to create fabulously fluid perspective shots that slowly unfolded to revealed the scene's full content.

The editing was also fantastic. I have seen comparison's between this editing and 'The Limey'. While there is some similarity in technique, this was far more elegant and flowing, whereas "The Limey" was jumpy and disconnected. This style of editing was absolutely necessary to adhere to the book's non linear format. Hicks needed to insert scenes that explained the feelings and motivations of the characters, and the only way to do this was with flashbacks and jump cuts. Despite the fact that such editing is disconcerting to a large majority of viewers, it was an artistic decision that was exactly right for the story, and seamlessly done. The same is true of the audio overlays with monologues of characters superimposed on one another, giving great power and emphasis to certain of the characters' lines.

The story itself, with all of its components, was engaging and well crafted. Unfortunately, there was not enough time to develop more of the characters. The scenes depicting the herding of the Japanese out of their homes for relocation were chilling. The courtroom scenes were realistic, not forsaking court procedure for dramatic effect, as is so common nowadays. The love scenes were sensitive, romantic and passionate without the need for sexual explicitness.

From an acting perspective, this was more of an ensemble production. All the actors gave wonderful performances, especially Youki Kudoh, who was torn between her love for Ishmael and her loyalty to her family and traditions. Kudoh was so emotionally involved with the part that she actually began crying during the featurette when recalling one of the scenes. Screen legend Max von Sydow was also fantastic as the aging defense attorney fighting and pleading for justice amidst the racial hatred.

This is a beautifully crafted film with a compelling story. It is a filmmaking 10/10. It has unfortunately not found a wide audience since its strongest elements are not areas of mass appeal. For the refined viewer who can appreciate filmmaking as an art, and enjoy an intriguing but deliberate story with exquisitely woven subtleties, this film is a delight. For those who prefer Hollywood's movie success formula of fast paced linear stories with lots of violence, profanity, clever one liners and raunchy sex, this film will bore them to death.

'Snow Falling on cedars' -adapted from David Guterson's novel- is about a murder trial, about racism and about a love that couldn't last.

I like the story as it is being told by director Scott Hicks. He seems to work like a musician, as a composer with a magic hand for telling a multilayered story in a perfect pace, just like the way themes develop and grow in good symphonic classical music. Scott Hicks also seems to have the hand and eyes of a painter and the imagination of a poet. Proof of this is the overwhelmingly beautiful photography of the film and the way the imagery blends perfectly with the beautiful music of James Newton Howard.

'Snow falling on cedars' is set on an American island in the straits north of Puget Sound, in Washington, with a large Japanese-American community. Everyone on this island is either a fisherman or a berry farmer.

At the core of 'Snow falling on cedars' lies a dramatic love story. It focuses on the most painful loss for a human soul to endure. Imagine yourself living in a small community where you are confronted every day with someone who once dearly loved you, but, due to extreme circumstances -in this case World War II- had to leave you and eventually married someone else... and you've never stopped loving that person. Whereas a deceased beloved person becomes a closed book, containing memories of the past, a living beloved one you see every day, but you can't reach anymore, causes probably a deeper trauma of loss. A trauma that can rip a man's heart and soul apart. We see this happen in 'Snow falling on cedars'.

The story gives us a deep and subtle look into the human heart of main character Ishmael Chambers (played very well by Ethan Hawke), a journalist who has never overcome a passionate love relationship in his teenage years with the Japanese girl Hatsue Imada (played very well by Youki Kudoh), who -according to her tradition- has married a Japanese guy. Hatsue's husband, fisherman Kazuo Miyamoto, stands on trial for the murder of fisherman Carl Heine. Kazuo's case looks bad and it's 1951, six years after the end of World War II, and nine years after Japan's attack on Pearl Harbour. Japanese-Americans were moved to internment camps during the war. In 1951 many Americans still frown upon their Japanese 'fellow americans' as a not trustworthy 'former enemy'. So ethnicity and racial convictions -although not outspoken- could play a role in the verdict of the jury.

Ishmael unravels the case and his findings will be crucial for the fate of Kazuo Miyamoto. While the trial is going on, we learn at the same time in many flashbacks about Ishmael's past love affair with Hatsue.

Don't miss this great movie and watch how main character Ismael Chambers finds the strength to show how gentle and generous the heart of a man can be. For all those with a sensitive mind and heart 'Snow falling on cedars' will be a feast for the senses, and of course nothing less can be expected from a true masterpiece.

The real star of Snow Falling on Cedars is director Scott Hicks. Working from David Guterson's beautiful novel, and with the help of the legendary cinematographer Robert Richardson he is able to create sequences of film of such intense beauty that you almost forgive the fact that film doesn't quite come togather as a whole.

The story revolves around the death of a Caucasian fisherman in a Pacific North Western town a few years after the bombing of Pearl Harbor. An American born man of Japanese descent stands accused of his murder. Meanwhile a local newspaper man Ishmael Chambers (Ethan Hawke) watches from the sidelines, he has a vested interest because the man who is accused is married to his childhood sweetheart, his only true love Hatsue Miyamoto (Youki Kudoh). But the synopsis doesn't indicate how complex the story is, it is told with flashbacks, and flashbacks within flasbacks, making a mess of the film, but a beautiful and poetic mess.

The performance were unfairly criticised by the critics, specifically Ethan Hawke's. His Ishmael is a bitter, heartbroken and wounded war veteran, and Hawke's understated performance expresses that perfectly. A man who lives in his father's shadow, never quite living up to the Chambers name. He has lost an arm in the war, and his bitterness towards Hatsue effects his reporting of the case. Now cynical and jaded he says "Facts you can cling to, emotions just fly away".

The best performance in the film is Max Von Sydow's. He plays Nel Gud Mundson who is the accused's attorney. Saddened by the community's deep prejudice, now old and crusty he trembles with anger when he addresses the jury. Von Sydow should have been a shoe in for the supporting actor Oscar, but alas he was ignored.

This film is also more observant when dealing with rascism. You see movies like THE HURRICANE idiotically simplify a system of thought that runs through out a society into a character of a bad cop. Snow Falling on Cedars is wiser, exposing the prejudice to be a deeply held belief among all citizens of a commuinity. A prejudice that is dormant in times of piece but all too apparent in time of war.

I really wanted to love this film, something about beautiful imagery playing under a powerful musical score gets to me. Although I give the film 3 stars, I'm reccomending because it is both frustrating and inspiring. A film that demands repeated veiwings, but doesn't make that task easy. If you can appreciate dense poetic films like THE THIN RED LINE or THE ENGLISH PATIENT, you'll appreciate this one even if its not in the same league as those two masterpieces. I suspect Snow Falling on Cedars is a great film, but its structure makes that greatness hard to get to. It is a difficult film, but worth the plunge.

This is a magnificent adaptation of David Guterson's acclaimed book. Director Scott Hicks took on a gargantuan task in attempting to make the book into a film, not only because it was so powerful and well received, but because it was so lengthy and daedal. The result, however, was one of the best films I have seen in quite some time.

There were really three stories intricately interwoven into one. The main story was the trial of a Japanese American for the murder of a fisherman who owned the land wrongfully taken from the accused's father. The other two stories provide insight into critical events affecting the trial. The first involves the childhood love affair of local newspaperman Ishmael (Ethan Hawke) and Hatsue (Youki Kudoh), who is now the wife of the accused. He has uncovered information that can aid the defense, but his resentment for having been jilted by Hatsue stands in the way of his bringing it forth.

The second ancillary story is the persecution of Japanese Americans and Japanese immigrants during World War II. We see depictions of hatred and bigotry, as law abiding Japanese citizens are shamelessly herded into internment camps. This seething animus serves as the psychological backdrop for the trial, which occurs in the early 1950's when the memories of the war and lost loved ones is still fresh.

From a directorial and cinematography perspective, this film was nothing short of a masterpiece. It is a cinematic work of art. Between Hicks' brilliant camera perspectives and Robert Richardson's beautiful lighting and earth tone coloring, the film was resplendent in powerful and stirring images. Many were so artistically done that if made into snapshots they could easily hang in any art gallery. Each shot was meticulously thought out. Many involved complex shots through windows, silhouette backlighting, elaborate blocking, and scenes where actors, props and camera were all moving in different directions to create fabulously fluid perspective shots that slowly unfolded to revealed the scene's full content.

The editing was also fantastic. I have seen comparison's between this editing and 'The Limey'. While there is some similarity in technique, this was far more elegant and flowing, whereas "The Limey" was jumpy and disconnected. This style of editing was absolutely necessary to adhere to the book's non linear format. Hicks needed to insert scenes that explained the feelings and motivations of the characters, and the only way to do this was with flashbacks and jump cuts. Despite the fact that such editing is disconcerting to a large majority of viewers, it was an artistic decision that was exactly right for the story, and seamlessly done. The same is true of the audio overlays with monologues of characters superimposed on one another, giving great power and emphasis to certain of the characters' lines.

The story itself, with all of its components, was engaging and well crafted. Unfortunately, there was not enough time to develop more of the characters. The scenes depicting the herding of the Japanese out of their homes for relocation were chilling. The courtroom scenes were realistic, not forsaking court procedure for dramatic effect, as is so common nowadays. The love scenes were sensitive, romantic and passionate without the need for sexual explicitness.

From an acting perspective, this was more of an ensemble production. All the actors gave wonderful performances, especially Youki Kudoh, who was torn between her love for Ishmael and her loyalty to her family and traditions. Kudoh was so emotionally involved with the part that she actually began crying during the featurette when recalling one of the scenes. Screen legend Max von Sydow was also fantastic as the aging defense attorney fighting and pleading for justice amidst the racial hatred.

This is a beautifully crafted film with a compelling story. It is a filmmaking 10/10. It has unfortunately not found a wide audience since its strongest elements are not areas of mass appeal. For the refined viewer who can appreciate filmmaking as an art, and enjoy an intriguing but deliberate story with exquisitely woven subtleties, this film is a delight. For those who prefer Hollywood's movie success formula of fast paced linear stories with lots of violence, profanity, clever one liners and raunchy sex, this film will bore them to death.

'Snow Falling on cedars' -adapted from David Guterson's novel- is about a murder trial, about racism and about a love that couldn't last.

I like the story as it is being told by director Scott Hicks. He seems to work like a musician, as a composer with a magic hand for telling a multilayered story in a perfect pace, just like the way themes develop and grow in good symphonic classical music. Scott Hicks also seems to have the hand and eyes of a painter and the imagination of a poet. Proof of this is the overwhelmingly beautiful photography of the film and the way the imagery blends perfectly with the beautiful music of James Newton Howard.

'Snow falling on cedars' is set on an American island in the straits north of Puget Sound, in Washington, with a large Japanese-American community. Everyone on this island is either a fisherman or a berry farmer.

At the core of 'Snow falling on cedars' lies a dramatic love story. It focuses on the most painful loss for a human soul to endure. Imagine yourself living in a small community where you are confronted every day with someone who once dearly loved you, but, due to extreme circumstances -in this case World War II- had to leave you and eventually married someone else... and you've never stopped loving that person. Whereas a deceased beloved person becomes a closed book, containing memories of the past, a living beloved one you see every day, but you can't reach anymore, causes probably a deeper trauma of loss. A trauma that can rip a man's heart and soul apart. We see this happen in 'Snow falling on cedars'.

The story gives us a deep and subtle look into the human heart of main character Ishmael Chambers (played very well by Ethan Hawke), a journalist who has never overcome a passionate love relationship in his teenage years with the Japanese girl Hatsue Imada (played very well by Youki Kudoh), who -according to her tradition- has married a Japanese guy. Hatsue's husband, fisherman Kazuo Miyamoto, stands on trial for the murder of fisherman Carl Heine. Kazuo's case looks bad and it's 1951, six years after the end of World War II, and nine years after Japan's attack on Pearl Harbour. Japanese-Americans were moved to internment camps during the war. In 1951 many Americans still frown upon their Japanese 'fellow americans' as a not trustworthy 'former enemy'. So ethnicity and racial convictions -although not outspoken- could play a role in the verdict of the jury.

Ishmael unravels the case and his findings will be crucial for the fate of Kazuo Miyamoto. While the trial is going on, we learn at the same time in many flashbacks about Ishmael's past love affair with Hatsue.

Don't miss this great movie and watch how main character Ismael Chambers finds the strength to show how gentle and generous the heart of a man can be. For all those with a sensitive mind and heart 'Snow falling on cedars' will be a feast for the senses, and of course nothing less can be expected from a true masterpiece.

This movie really doesn't know what it wants to be. An character study? An impersonation story? A murder mystery? A love story? A psycotic thriller? It attempts each sub-genre, one at a time, for over two hours, and to me thats what hurts this movie.

Except for Gwyneth Paltrow, there's pretty good acting in this film, and the first hour or so really fascinated me. I loved how Ripley manipulated Dickie and played him like a stack of cards, earning his favor to try to get him back. When events take a turn for the worse I expected to see more of Tom Ripley's "talents"...but we don't. Instead, it moves onto Phase 3: a murder mystery. You'll expect this film to end three times before it actually does, and that feeling of a plot being dragged on into oblivion made me like this movie less and less, especially when the unsatisfying ending comes out. You'll be left thinking, "...and...what!"

The first hour was great, but once the ball got rolling I really couldn't watch any more.

Evidence of the Oscar-winning talent that constitutes director Anthony "The English Patient" Minghella's crew is splattered all over this sumptuous film. Once again, Minghella, aided immensely by his director of photography, John Seale, showcases his gift for cinematically recreating specific times and places with a painstaking exactitude of detail and an unparalleled richness. As we follow Tom Ripley (played by an almost emaciated Matt Damon) from his humdrum New York existence to the golden beaches of 1950's Italy, we easily allow ourselves to be lost in Minghella's stunning world of bronzed and beautiful Italian natives and the fair-skinned American trust-fund-babies that saunter about their shores. Minghella makes it very easy for us to understand how and why a young man like Tom Ripley, who comes from a thankless blue-collar background, could allow himself to be seduced by the idle ways of these idle rich. And, indeed, it is during the first hour of The Talented Mr. Ripley that the film is on its most sure footing. It is during this time that we are introduced to a fascinating array of characters, ranging from the charming and gorgeous Dickie Greenleaf (Jude Law), to his beautiful blonde-haired socialite girlfriend Marge Sherwood, to the adorably aloof Meredith Logue (Cate Blanchett), and, of course, to the spoiled and obnoxious Freddie Miles (a minor role played deliciously by the excellent-as-usual Philip Seymour Hoffman).

However, this film's fatal flaw is that it suddenly shifts gears at the halfway point, and the story just as quickly loses confidence in where it is supposed to go next. Indeed, it almost seems as if Minghella devoted so much attention to setting up this incredible world with its incredible characters that he had little energy left to devote to the crux of Patricia Highsmith's novel, which concerns a poor young outsider who violently subverts the well-to-do world that he discovers he can never truly be a part of; but he does all of this (and this is important, for it is where Minghella's interpretation fails) out of an envious fury that the audience is supposed to be able to relate to, a fury spawned by the deeper ills that come from class division and prejudice. In other words, the audience is supposed to delight in Ripley's brutal killings, even if we are simultaneously appalled by them. We are supposed to be able to root for Tom Ripley, the underdog, much as we find ourselves oddly rooting for the Patrick Bateman character in Mary Harron's American Psycho precisely because we understand his fury at being stuck in the uniquely American web of shallow consumerism, commercial brainwashing, and material greed. Instead of developing Tom Ripley in a way that will allow his modern audience to relate to his rash actions, Minghella makes the mistake of trying to cater to a contemporary sensibility by making explicit Ripley's homosexuality, which was only hinted at in Highsmith's novel. Thus, much of the fascination with the character of Tom Ripley in the book is lost in the movie, and we often find ourselves laughing at this pathetic wretch with his silly lustful infatuation than sympathizing with him.

Even on a structural level, the film's second half fails. Once Ripley commits his first and most important murder, the languid but alluring pace of the first half of the film suddenly gives way to a dizzying flurry of jumbled events, with Ripley stumbling upon one sloppy murder after another until the very end, when Minghella basically just cuts the film short and decides to end it. Even those that greatly admire this film must acknowledge the abruptness of its conclusion, which is meant to be profound -- with Tom Ripley sitting alone, fresh off of another kill, his fractured reflection bouncing off of a mirror and revealing his cracked and empty soul -- but is really just a fancy end to a very sudden chain of events that leaves the audience reeling and, ultimately, unimpressed.

Still, Minghella's latest film is very much worth watching if just as a showcase for his superb ability to transport his audience to an intricately, lovingly fabricated world. And that alone is a commendable achievement by any filmmaker.

Let's get to the technical wizardry first. This film has a "look" that sets it apart from every other film released in 1999. The cinematography makes the locations, as well as the cast, look picture-perfect. I don't think there is any bad lighting, unnecessary shadows, incomplete scenes, or choppy angles to be found in any frame of this film. A treat for the eyes is TTMR!

Gabriel Yared's score is magnificent. It is subtle yet ominous at the same time. Reminiscent of the best work of Herrmann, Yared never overpowers a scene. The music effectively supports every machination of the title character in his efforts to fulfill his perceived "destiny."

As for the acting, Gwyneth Paltrow and Cate Blanchet display the guiet elegance that has garnered them award-winning aclaim. Phillip Seymour Hoffman shows why he is a actor to reckon with. Jude Law is mesmerizing as the object of Ripley's obsession.

And Matt Damon? He took a gamble in taking the role of this most sinister character. He pulls it off, magnificently. Ripley is never one to which the audience will sympathize, but he will not be condemned either. Matt Damon as Ripley is like the Pied Piper. He is leading us, as well as the on-screen characters, down the path that HE intends us to follow.

Thus, final praise should be heaped upon Anthony Maghella for putting this excellent film together. He is the artisan who took Patricia Highsmith's literary classic, added his own touches, and made a magnificent film.

Great is the Talented MR. MANGHELA!

This movie really doesn't know what it wants to be. An character study? An impersonation story? A murder mystery? A love story? A psycotic thriller? It attempts each sub-genre, one at a time, for over two hours, and to me thats what hurts this movie.

Except for Gwyneth Paltrow, there's pretty good acting in this film, and the first hour or so really fascinated me. I loved how Ripley manipulated Dickie and played him like a stack of cards, earning his favor to try to get him back. When events take a turn for the worse I expected to see more of Tom Ripley's "talents"...but we don't. Instead, it moves onto Phase 3: a murder mystery. You'll expect this film to end three times before it actually does, and that feeling of a plot being dragged on into oblivion made me like this movie less and less, especially when the unsatisfying ending comes out. You'll be left thinking, "...and...what!"

The first hour was great, but once the ball got rolling I really couldn't watch any more.

Evidence of the Oscar-winning talent that constitutes director Anthony "The English Patient" Minghella's crew is splattered all over this sumptuous film. Once again, Minghella, aided immensely by his director of photography, John Seale, showcases his gift for cinematically recreating specific times and places with a painstaking exactitude of detail and an unparalleled richness. As we follow Tom Ripley (played by an almost emaciated Matt Damon) from his humdrum New York existence to the golden beaches of 1950's Italy, we easily allow ourselves to be lost in Minghella's stunning world of bronzed and beautiful Italian natives and the fair-skinned American trust-fund-babies that saunter about their shores. Minghella makes it very easy for us to understand how and why a young man like Tom Ripley, who comes from a thankless blue-collar background, could allow himself to be seduced by the idle ways of these idle rich. And, indeed, it is during the first hour of The Talented Mr. Ripley that the film is on its most sure footing. It is during this time that we are introduced to a fascinating array of characters, ranging from the charming and gorgeous Dickie Greenleaf (Jude Law), to his beautiful blonde-haired socialite girlfriend Marge Sherwood, to the adorably aloof Meredith Logue (Cate Blanchett), and, of course, to the spoiled and obnoxious Freddie Miles (a minor role played deliciously by the excellent-as-usual Philip Seymour Hoffman).

However, this film's fatal flaw is that it suddenly shifts gears at the halfway point, and the story just as quickly loses confidence in where it is supposed to go next. Indeed, it almost seems as if Minghella devoted so much attention to setting up this incredible world with its incredible characters that he had little energy left to devote to the crux of Patricia Highsmith's novel, which concerns a poor young outsider who violently subverts the well-to-do world that he discovers he can never truly be a part of; but he does all of this (and this is important, for it is where Minghella's interpretation fails) out of an envious fury that the audience is supposed to be able to relate to, a fury spawned by the deeper ills that come from class division and prejudice. In other words, the audience is supposed to delight in Ripley's brutal killings, even if we are simultaneously appalled by them. We are supposed to be able to root for Tom Ripley, the underdog, much as we find ourselves oddly rooting for the Patrick Bateman character in Mary Harron's American Psycho precisely because we understand his fury at being stuck in the uniquely American web of shallow consumerism, commercial brainwashing, and material greed. Instead of developing Tom Ripley in a way that will allow his modern audience to relate to his rash actions, Minghella makes the mistake of trying to cater to a contemporary sensibility by making explicit Ripley's homosexuality, which was only hinted at in Highsmith's novel. Thus, much of the fascination with the character of Tom Ripley in the book is lost in the movie, and we often find ourselves laughing at this pathetic wretch with his silly lustful infatuation than sympathizing with him.

Even on a structural level, the film's second half fails. Once Ripley commits his first and most important murder, the languid but alluring pace of the first half of the film suddenly gives way to a dizzying flurry of jumbled events, with Ripley stumbling upon one sloppy murder after another until the very end, when Minghella basically just cuts the film short and decides to end it. Even those that greatly admire this film must acknowledge the abruptness of its conclusion, which is meant to be profound -- with Tom Ripley sitting alone, fresh off of another kill, his fractured reflection bouncing off of a mirror and revealing his cracked and empty soul -- but is really just a fancy end to a very sudden chain of events that leaves the audience reeling and, ultimately, unimpressed.

Still, Minghella's latest film is very much worth watching if just as a showcase for his superb ability to transport his audience to an intricately, lovingly fabricated world. And that alone is a commendable achievement by any filmmaker.

Let's get to the technical wizardry first. This film has a "look" that sets it apart from every other film released in 1999. The cinematography makes the locations, as well as the cast, look picture-perfect. I don't think there is any bad lighting, unnecessary shadows, incomplete scenes, or choppy angles to be found in any frame of this film. A treat for the eyes is TTMR!

Gabriel Yared's score is magnificent. It is subtle yet ominous at the same time. Reminiscent of the best work of Herrmann, Yared never overpowers a scene. The music effectively supports every machination of the title character in his efforts to fulfill his perceived "destiny."

As for the acting, Gwyneth Paltrow and Cate Blanchet display the guiet elegance that has garnered them award-winning aclaim. Phillip Seymour Hoffman shows why he is a actor to reckon with. Jude Law is mesmerizing as the object of Ripley's obsession.

And Matt Damon? He took a gamble in taking the role of this most sinister character. He pulls it off, magnificently. Ripley is never one to which the audience will sympathize, but he will not be condemned either. Matt Damon as Ripley is like the Pied Piper. He is leading us, as well as the on-screen characters, down the path that HE intends us to follow.

Thus, final praise should be heaped upon Anthony Maghella for putting this excellent film together. He is the artisan who took Patricia Highsmith's literary classic, added his own touches, and made a magnificent film.

Great is the Talented MR. MANGHELA!

I've never been disappointed by a Julianne Moore performance, but I have also never been as impressed as I was with her performance in "Far From Heaven." For this film, she turns in a remarkably restrained and subtle piece of acting, one that puts me in mind of Emma Thompson's excellent work in "The Remains of the Day."

Moore plays homemaker Cathy Whitaker, mother to 2 children and wife to Frank Whitaker (played by Dennis Quaid). The setting is the 1950's in Connecticut. Racial tensions are an undercurrent to the entire film, but the main subject is Cathy herself, and how she deals with growing difficulties both in her marriage and outside of it.

Prevalent in the film, almost a character in itself, is the sense of the 1950's. As the film begins, the Whitakers have an almost idyllic quality, like the Cleavers from "Leave it to Beaver." As the story goes on, though, the perfect facade begins to crumble, and we see some very real problems under the surface. It is done skillfully, and seems to be indicative of the '50's in general, this sense of a perfect mask, hiding any number of problems.

Another excellent performance is found in Dennis Haysbert, as Raymond Deagan, the Whitakers' African-American gardener. As Cathy struggles with the difficulties in her marriage and in her life, she develops a bond with Raymond, a bond which makes things tragically worse for her in the racially-restrictive atmosphere of the 1950's.

The way the story progresses makes it clear that Cathy is not a racist, but her circumstances force her into considering racial motivations for some of her decisions later in the film. The real tragedy in "Far From Heaven" is actually the tragedy of America in the 1950's -- there were many who realized that racial equality was important, but the society at large made it almost impossible for them to act on their beliefs.

Perhaps my only complaint of the film is that it tries to do a little bit too much. The story of Cathy and her internal conflicts would have been good enough, but late in the film other conflicts are introduced for Raymond and for Frank which do more to distract from Cathy's story than adding to it. It's not out of the realm of possibility for these conflicts to happen, but it's definitely a stretch, and it is at these points when the film loses a bit of focus.

Nevertheless, "Far From Heaven" is a film filled with wonderfully subtle performances, and expresses the feel of America in the 1950's very well. Fifties America was a lovely shell of peace and prosperity, but unfortunately that shell was fragile, and masked a multitude of sins and conflicts for those who lived through them. "Far From Heaven" portrays both the shell and the conflicts beneath it almost perfectly, and reveals a great deal about the time. It is a film, and a subject, worthy of attention.

Julianne Moore does a wonderful job, as doess Dennis Quaid. Quite possibly Dennis delivers his best performance. Filmed and executed entirely like a period film which is interesting. The plot is unusual, and things are hinted at, implied. It's a fresh film experience from today's bare all, show all films. Nice.

Far From Heaven is a beautiful, passionate film. It unfolds with the perfect family life for the Whitakers, just like we always saw on TV shows of the era. It seems as though director Todd Haynes was shooting for that look - that perfect look of the 50's that only really existed in black and white TV. The staging of the utterly perfect home and backdrops is in stark contrast to what is really going on in this family. Nothing prepares wife Cathy (Julianne Moore) for the shocking revelation of her husband's (Dennis Quaid's) dark secret.

In exploring that secret, and the feelings that Cathy develops for black gardener Raymond
(Dennis Haysbert from "24"), Haynes shows us that the nostalgic feel we have for the idyllic life of the 50's was very much a sham. Racial divisiveness, bigotry, homophobia and secret dual lives....they all existed, and were covered by a thin veneer of pretense in our society. Because journalists and movie makers were not allowed to portray the seamier side of life, we all think of life in the era as picture perfect, based on the films that WERE made. Haynes doesn't let us keep this illusion, but despite his beautiful imagery, the picture perfect costuming, the score, his pace and his skill with the details in a film, it would all be for naught if he were not working with the caliber of the actors that he drew. Haynes prior efforts are notable but little known, "Safe", "Poison" and "Velvet Goldmine" being the most widely distributed, and he's worked with topics like homophobia and flaunting social mores, as well as with Julianne Moore before. This time he brings out the best in her - and she was my favorite for the Best Actress Oscar.

If you can get beyond Moore's ethereal beauty, you'll doubtless recognize the depth she brings to a character. It's true that no one of Cathy Whitaker's background would have probably taken the bull by the horns as openly as she does in her relationship with Raymond,
but Moore plays it believably. We ache for her. Both Quaid and Haysbert give masterful and understated performances - Quaid as a man driven by his needs which he's bottled up successfully inside him, his whole life, and Haysbert, as a man of uncommon dignity, who is forced by society to live in the shadow of his own needs and feelings.

The performances and the uncommon beauty of the film will linger with you long after the tale is finished; but don't miss the extra features of the DVD - so much of what makes this an exceptional picture is mapped out for you that the film takes on even more meaning.

Far From Heaven - a definite must see!

This is maybe the worst movie since "the Invasion of the Killer Tomatoes." It is boring and lacks any creativity. "The Killer Tomatoes" was much more creative and interesting.

I enjoyed the original Rocky & Bullwinkle cartoons. Unfortunately, the transformation from animation to real human and animal characters does not work in this movie. The characters are real goofy and boring and simply awful. This movie does not do justice to the original cartoons. I do not see anything of what others describe as "whimsical, funny--at times hysterical." This is simply not true. I suggest that you save your money and buy a different movie.

For anyone who remembers and loves the original Rocky and Bullwinkle cartoons, this movie is an absolute must-see. It is an incredibly funny mix of cartoon and live animation a la "Roger Rabbit" that perfectly both parodies and celebrates the original serialized Rocky & Bullwinkle cartoons. Yes, the all-knowing (and all-punning) narrator is here, to comment on the actions of the film, Frostbite Falls is here, Wossamotta U is here, and of course...Fearless Leader, Boris and Natasha are here! Renee Russo and Jason Alexander, as Boris and Natasha, are by the way, absolutely brilliant in bringing to life to perfection the mannerisms and voices of these dastardly villians. And Robert DeNiro is amazing...It is so fun to see him doing such a cartoonish, hilarious character. The other great fun in the movie is spotting all of the tons and tons of celebrity cameos (Whoopi Goldberg, in particular, is excellent, as...who else?...Judge Cameo). As is usual with this type of movie, the critics blasted it. BUT DON'T BELIEVE THEM! This movie is excellent! If you loved "George of the Jungle," you will love this...even more!

I walked into this film expecting it to be one of those movies full of corny humor and childish antics. After the movie, however, I had a much different approach to this film. "The Adventures of Rocky and Bullwinkle" is a great family film and is also an interesting treat for adults and older kids. In "The Adventures of Rocky and Bullwinkle", Moose and Squirrel's arch enemies Boris (Jason Alexander), Natasha (Rene Russo) and Fearless Leader (Robert De Niro) come out of reruns in a hope to take over the world. Then, the FBI sends out Agent Karen Sympathy to bring Rocky and Bullwinkle into the real world. This is a delightful family film that I recommend to most anyone.

This is maybe the worst movie since "the Invasion of the Killer Tomatoes." It is boring and lacks any creativity. "The Killer Tomatoes" was much more creative and interesting.

I enjoyed the original Rocky & Bullwinkle cartoons. Unfortunately, the transformation from animation to real human and animal characters does not work in this movie. The characters are real goofy and boring and simply awful. This movie does not do justice to the original cartoons. I do not see anything of what others describe as "whimsical, funny--at times hysterical." This is simply not true. I suggest that you save your money and buy a different movie.

For anyone who remembers and loves the original Rocky and Bullwinkle cartoons, this movie is an absolute must-see. It is an incredibly funny mix of cartoon and live animation a la "Roger Rabbit" that perfectly both parodies and celebrates the original serialized Rocky & Bullwinkle cartoons. Yes, the all-knowing (and all-punning) narrator is here, to comment on the actions of the film, Frostbite Falls is here, Wossamotta U is here, and of course...Fearless Leader, Boris and Natasha are here! Renee Russo and Jason Alexander, as Boris and Natasha, are by the way, absolutely brilliant in bringing to life to perfection the mannerisms and voices of these dastardly villians. And Robert DeNiro is amazing...It is so fun to see him doing such a cartoonish, hilarious character. The other great fun in the movie is spotting all of the tons and tons of celebrity cameos (Whoopi Goldberg, in particular, is excellent, as...who else?...Judge Cameo). As is usual with this type of movie, the critics blasted it. BUT DON'T BELIEVE THEM! This movie is excellent! If you loved "George of the Jungle," you will love this...even more!

I walked into this film expecting it to be one of those movies full of corny humor and childish antics. After the movie, however, I had a much different approach to this film. "The Adventures of Rocky and Bullwinkle" is a great family film and is also an interesting treat for adults and older kids. In "The Adventures of Rocky and Bullwinkle", Moose and Squirrel's arch enemies Boris (Jason Alexander), Natasha (Rene Russo) and Fearless Leader (Robert De Niro) come out of reruns in a hope to take over the world. Then, the FBI sends out Agent Karen Sympathy to bring Rocky and Bullwinkle into the real world. This is a delightful family film that I recommend to most anyone.

This is maybe the worst movie since "the Invasion of the Killer Tomatoes." It is boring and lacks any creativity. "The Killer Tomatoes" was much more creative and interesting.

I enjoyed the original Rocky & Bullwinkle cartoons. Unfortunately, the transformation from animation to real human and animal characters does not work in this movie. The characters are real goofy and boring and simply awful. This movie does not do justice to the original cartoons. I do not see anything of what others describe as "whimsical, funny--at times hysterical." This is simply not true. I suggest that you save your money and buy a different movie.

For anyone who remembers and loves the original Rocky and Bullwinkle cartoons, this movie is an absolute must-see. It is an incredibly funny mix of cartoon and live animation a la "Roger Rabbit" that perfectly both parodies and celebrates the original serialized Rocky & Bullwinkle cartoons. Yes, the all-knowing (and all-punning) narrator is here, to comment on the actions of the film, Frostbite Falls is here, Wossamotta U is here, and of course...Fearless Leader, Boris and Natasha are here! Renee Russo and Jason Alexander, as Boris and Natasha, are by the way, absolutely brilliant in bringing to life to perfection the mannerisms and voices of these dastardly villians. And Robert DeNiro is amazing...It is so fun to see him doing such a cartoonish, hilarious character. The other great fun in the movie is spotting all of the tons and tons of celebrity cameos (Whoopi Goldberg, in particular, is excellent, as...who else?...Judge Cameo). As is usual with this type of movie, the critics blasted it. BUT DON'T BELIEVE THEM! This movie is excellent! If you loved "George of the Jungle," you will love this...even more!

I walked into this film expecting it to be one of those movies full of corny humor and childish antics. After the movie, however, I had a much different approach to this film. "The Adventures of Rocky and Bullwinkle" is a great family film and is also an interesting treat for adults and older kids. In "The Adventures of Rocky and Bullwinkle", Moose and Squirrel's arch enemies Boris (Jason Alexander), Natasha (Rene Russo) and Fearless Leader (Robert De Niro) come out of reruns in a hope to take over the world. Then, the FBI sends out Agent Karen Sympathy to bring Rocky and Bullwinkle into the real world. This is a delightful family film that I recommend to most anyone.

This movie proves that a great concept, a big budget, and two of the funniest stand-up comedians on earth are not the only ingredients necessary in making a good film comedy.

There were two scenes that made me double over and laugh out loud... and for that alone, the film gets one star.

During the rest of this film, however, I sat w/ my arms crossed, not so much as cracking a smile. This movie was not to the caliber of work one rightfully expects from these 2 bright comedians.

Bernie Mac has a unique talent - he just needs to look into the camera and you can start laughing. Sadly, the best scenes involving him were in the trailers on TV commercials - so there were really no surprises during the film.

The plot is focused on Mays Gilliam (played by Chris Rock) who is an Alderman in Washington D.C. He's not a "team player" in that he won't play the political game. His short-lived political career quickly ends until the Democratic candidates for president and vice president are killed when their planes collide.

The big-wigs in the party decide to pick Gilliam to run as the party's presidential candidate and he eventually has his brother (Bernie Mac) come on the ticket as his running mate.

The story and concept were well thought out, but the delivery and timing of the humor was less than stellar. I knew the punchlines 10 seconds before they were delivered - the spark of spontaneity just wasn't there.

I'm sure that when Chris Rock was first putting pen to paper and developing this story, he had a lot of fun and a lot of laughs. Sadly, it's as though he and/or others involved in the production fell too much in love w/ the original dialogue and didn't suggest/accept improvements to make it fresher.

I really wanted this movie to be better - but in the end, I was greatly disappointed. This could have been much better... perhaps w/ Rock being the star, but not the director - who knows? There was just something missing... the laughter.

I am a big fan of Chris Rock. Love almost all of his stand-up. But what may have worked quite alright as a skit on The Chris Rock Show just doesn't cut it as "humor" in a fullfledged movie.

Too many disparate characters are smooshed in, while some characters such as the superwhore, the meatman etc are left so underdeveloped it makes you wonder why they were put in in the first place.

Bromidic jibes about "brothers" doing drugs etc while white men being geeks are so 80s they'd make Beegees look postmodern. But Chris chose to stick with that kind of humor.

Watching him and Bernie Mac slug each other in greeting was funny the first time. Having them get in a brawl later in the film as they have an intense discussion was disturbing. Mays Gilliam even advocates violence as a solution to dealing with certain controversial issues.

What can one say. It really is a "light" movie, in every sense of the word. Worth a rental, maybe, nothing more.

In this tongue-in-cheek movie, Chris Rock stars as a man who is put up for President as a last-minute replacement for a candidate who dies. Those around him are dedicated to helping him lose the election so that a more "serious" candidate can run and win in 4 years. Rock follows the party line at first, but then, encouraged by his brother, played by Bernie Mac, he begins to speak for himself. Although definitely not "politically correct", Rock begins to win grass-roots support, and eventually he poses a real threat to his opponent. There are some sly digs towards politicians, racists, and others who take themselves too seriously, which makes for enjoyable viewing.

This movie proves that a great concept, a big budget, and two of the funniest stand-up comedians on earth are not the only ingredients necessary in making a good film comedy.

There were two scenes that made me double over and laugh out loud... and for that alone, the film gets one star.

During the rest of this film, however, I sat w/ my arms crossed, not so much as cracking a smile. This movie was not to the caliber of work one rightfully expects from these 2 bright comedians.

Bernie Mac has a unique talent - he just needs to look into the camera and you can start laughing. Sadly, the best scenes involving him were in the trailers on TV commercials - so there were really no surprises during the film.

The plot is focused on Mays Gilliam (played by Chris Rock) who is an Alderman in Washington D.C. He's not a "team player" in that he won't play the political game. His short-lived political career quickly ends until the Democratic candidates for president and vice president are killed when their planes collide.

The big-wigs in the party decide to pick Gilliam to run as the party's presidential candidate and he eventually has his brother (Bernie Mac) come on the ticket as his running mate.

The story and concept were well thought out, but the delivery and timing of the humor was less than stellar. I knew the punchlines 10 seconds before they were delivered - the spark of spontaneity just wasn't there.

I'm sure that when Chris Rock was first putting pen to paper and developing this story, he had a lot of fun and a lot of laughs. Sadly, it's as though he and/or others involved in the production fell too much in love w/ the original dialogue and didn't suggest/accept improvements to make it fresher.

I really wanted this movie to be better - but in the end, I was greatly disappointed. This could have been much better... perhaps w/ Rock being the star, but not the director - who knows? There was just something missing... the laughter.

I am a big fan of Chris Rock. Love almost all of his stand-up. But what may have worked quite alright as a skit on The Chris Rock Show just doesn't cut it as "humor" in a fullfledged movie.

Too many disparate characters are smooshed in, while some characters such as the superwhore, the meatman etc are left so underdeveloped it makes you wonder why they were put in in the first place.

Bromidic jibes about "brothers" doing drugs etc while white men being geeks are so 80s they'd make Beegees look postmodern. But Chris chose to stick with that kind of humor.

Watching him and Bernie Mac slug each other in greeting was funny the first time. Having them get in a brawl later in the film as they have an intense discussion was disturbing. Mays Gilliam even advocates violence as a solution to dealing with certain controversial issues.

What can one say. It really is a "light" movie, in every sense of the word. Worth a rental, maybe, nothing more.

In this tongue-in-cheek movie, Chris Rock stars as a man who is put up for President as a last-minute replacement for a candidate who dies. Those around him are dedicated to helping him lose the election so that a more "serious" candidate can run and win in 4 years. Rock follows the party line at first, but then, encouraged by his brother, played by Bernie Mac, he begins to speak for himself. Although definitely not "politically correct", Rock begins to win grass-roots support, and eventually he poses a real threat to his opponent. There are some sly digs towards politicians, racists, and others who take themselves too seriously, which makes for enjoyable viewing.