Timothy-Hutton Movie Reviews

Sidney Lumet's film is based on the novel The Book of Daniel by E L Doctorow, an obvious use of the Julius and Ethel Rosenberg case of the 1950's. The Rosenberg's were convicted of conspiring to give atomic bomb information to the Soviets, and executed in 1953. Whilst it is believed that the Rosenberg's were justly convicted, what made the case contentious was the severity of their punishment. Doctorow renamed the Rosenberg's the Isaacsons, and uses the Rosenberg myth to explore the dark side of infamy. The film is told from the Isaacson children's point of view, Amanda Plummer who even as a child when her parents were killed, shows indications of her later mental breakdown, and Timothy Hutton who appears to be the stronger of the two. Both have internalised their grief, with Plummer's idealism shown to be as unhealthy as that of her parents, and Hutton's fetish about different methods of execution. We see the children's resentment of their parents because the imprisonment and eventual deaths of the parents cost the children their protection. It's not important to the children whether their parents are innocent. They believe the political activism the parents expressed is self-destructive. Our view of the Isaacson's activism as a demonstration of passion is divided between heroic and foolish, with Mandy Pantikin's Paul Isaacson being the best example, when he collapses at the sight of the electric chair. Is he a foolish coward or would anyone faint in fear at the time of death? (though Mrs Isaacson doesn't). Doctorow (who adapted his own book) casts doubt on the guilt of the Isaacson's to provide for the children's anguish..Hutton interviews survivors of the trial and settles on the theory that his parents were the dupe of the informant, who fingered them in order to deflect attention from the real culprits. Whilst this theory cannot be substantiated, it's more palatable for the Isaacsons than it could be for the Rosenbergs, who the Communist Party wanted us to believe were also framed. Of course this theory requires that there existed a conspiracy, and the film points out that the Soviet's advances in nuclear weapons can be explained by their independent efforts. After all, wasn't it feared that the Nazi's would beat the Americans to the bomb if their invasion of Russia was a success? The alternate theory that there were no culprits and the Isaacsons were merely scapegoats for Cold War paranoia would probably lead both children to suicide. Lumet creates two time frames, distinguished by cinematography Andrejz Bartkowiak's orange tint for the past and blue tint for the Vietnam era that is the present where the children are now adults, and intercuts in memory and with the progression of Hutton's quest. This intercutting works the best with Lumet's set pieces, an anti-Communist ambush after a Paul Robeson concert, and the two executions presented mercifully in long shot, though a final comparative funeral seems false since it's hard to imagine that the Isaacsons would have been allowed a public funeral. It feels like it exists so Lumet could make the parallel. There is a memorable image of the children being passed over the heads of a crowd during a rally, but the extended stock footage that Lumet opens and closes the film with is less successful. I also tend to agree with Pauline Kael's assessment of the Robeson songs on the soundtrack, in her review in her collection State of the Art. She says its a secret rarely let out: Robeson was a monotonous singer and his songs all sound the same (except for one up-tempo number towards the end). When men appear with baseball bats to attack the Isaacsons and other Communist Party members who have heard Robeson sing live, you wish they would use their bats on Robeson's arranger instead. Lumet has the reputation for encouraging his actors to yell, a point taken to near parody by the hysteria of Julie Bovasso as Patinkin's sister who is lumbered with the children when both parents are arrested, and Patinkin is probably the worst offender. However Lindsay Crouse as Mrs Isaacson is a touching mother and I also liked the polite hostility of Carmen Matthews as the widow of the Isaacson's lawyer. Hutton is all hair and beard but Amanda Plummer has a Judy Garland-ish vulnerability, with a scene where he tries to rouse her out of her madness and she returns to the solace of her foetal position in a dance-like move.

I FIND THIS MOVIE VERY INTERESTING BECAUSE ITS SIMILAR TO THE CASE OF JULIUS AND ETHEL ROSENBERG WHO WERE TRIED AND EXECUTED FOR ESPIONAGE IN THE 1950'S,ITS IDENTICAL TO THEIR CASE.

I FIND THAT THE ACTORS PLAYED THEIR ROLES WELL,AND RECOMMEND THIS MOVIE FOR VIEWING VERY HIGHLY.

A military school is about to be closed, partly because its longtime headmaster is seen as unstable by some. Many of the cadets/students do not want to lose their school, as it is their home. They take over, and the police try to get them out; the result is a standoff. One of the cadets kills one of the police, and the stakes are raised.

George C. Scott plays the probably unstable headmaster (think of a postwar Patton about to lose his last job); he is both admirable and scary. Timothy Hutton, who some feel did not handle this role well, plays one of the lead cadets. I think he did the role justice, as his character is torn between honor, being faithful to his school and headmaster, dealing with his friends' differing views on how to handle the situation, and finding a sane way out of an insane situation. Tom Cruise plays one of Hutton's friends, and thinks that they should hold the school, no matter what the cost. Sean Penn plays another friend, who seeks a bloodless resolution, no matter what.

Some reviewers criticize the film because the cadets are portrayed as both villains and heroes. I disagree; I see the kids being portrayed as what they are supposed to be: not-yet-adults with strong ideals put in a no-win situation. Are they supposed to surrender their school/home to keep the peace, even if it violates their ideals and sense of justice? Or, do they kill off the police to hold their honor, while becoming murderers? They have no good choice, yet they have to choose. And, they have a charismatic, if somewhat fanatical and unstable role model. They behave as I would expect them to in such an awful situation.

Overall, this is a memorable, good film, although not great or epic. It tackles important issues in a crucible of crisis.

The cast is 100% all star and the movie is excellent about young men with one goal but different values about what they would do to achieve that goal. A great hit movie!

Given the other reviews, plot summary in this one would be superfluous, yet I feel compelled to say "Taps" is a deeply moving tragedy. The characters are very real, the situation is very believable. The film has its share of comic relief, but the story is so sad and the acting so very good (even Cruise, whom I generally loathe, was perfectly cast) that if you are given to tears you may prefer to watch it alone, but whether you are or whether you're not, you definitely should watch it.

"You're going to grow up and I'm not."

This is what Ricky Schroth (Kevin Bacon) says to Harriet Frankovitz (Evan Rachel Wood) near the end of the film, expressing both the promise of her life, and the tragedy of his. It is precisely because of the potential of this sharp spoken, sharp witted, beautiful little girl with a mind of her own that we are mesmerized by her, as we are by our own children, and why we are so deeply saddened by the young man who is not a man and never will be.

This is a film that discovers itself after a clumsy start and develops until at the end we see the beauty and the tragedy of its story as an affirmation of life. Kevin Bacon starts awkwardly and has to work hard to conquer a demanding role. But so does Wood, who in the beginning at times seemed unsure of who she is and how she should feel and react. But both actors grow into their characters and become stronger and stronger as the film progresses. However, I think Director Timothy Hutton (Best Supporting Actor for Ordinary People in 1980) might have profited by re-shooting some of the earlier scenes.

It is interesting to compare Bacon's performance with that of other actors who have attempted to play mentally retarded or mentally challenged characters--I'm thinking here of Dustin Hoffman in The Rain Man (1988) and Billy Bob Thornton in Sling Blade (1996). Dustin Hoffman was of course something close to brilliant in his Academy Award winning role. He had a charming script, and because he played alongside Tom Cruise he benefitted from not having to carry the picture by himself. This was not the case for Billy Bob Thornton in Sling Blade, where too much was attempted without enough help so that Thornton ended up too much in front of the camera, and that was not always to his benefit. Here Bacon is wonderfully supported not only by Miss Wood, but by Mary Stuart Masterson who plays Harriet's "sister" Gwen. Some people have criticized Masterson's performance, but I think they are reacting to her non-sympathetic character, a woman, who, as Harriet says, "should have been a nurse. She's always making some guy feel better." I think Masterson was very subtle in a unrefined role, and touching as a woman who had a lot to learn. Also excellent and completely believable in a limited role was Marian Seldes as Ricky's mother.

I was surprised that such an original and deeply lived script was not adapted from a novel. No writer could have just dreamed up this story. It had to have been lived in some sense. (Part of it was dreamed up of course.) So I guess, Karen Janszen, who wrote the script must have lived it. At any rate, she is to be commended for such an original conception. The setting in North Carolina at a rural motel ("Mom won it in a divorce"), and the three who ran "Mac's Indian Cabins" was perfect for the tale. Her celebration of the spirit of a ten-year-old who thinks she can dig to China was precious and warm. Some of the lines were so perfect. I am thinking of Harriet's voice over after it is revealed that she and Ricky "got married" (baptized is more like it!). The ten-year-old says, "Gwen was mostly upset cause I got married before her."

I was happily surprised at what a quirky, insightful and often humourous story this was (along with a teary ending). Evan Rachel Wood is superb superb in naturally bringing to life her unusually sensitive and perceptive character -- at the pace she's on she's destined for several academy awards. Bacon fortunately doesn't overdo it -- more like dicaprio in gilbert grape than the irritating hoffman in rainman. The script is packed with little dialogue gems that you'd never find in a Disney movie, and though Hutton's first-time directing shows its inexperience, it actually fits in with the simple atmosphere of the movie. Don't expect too much and be pleasantly surprised like me.

I may shed a tear every now and then during a dramatic movie scene, but this film really kept the tears flowing... I'm torn between recommending this movie and protecting people from seeing it because it's so sad.

I've read many critics rip up this movie, also claiming Kevin Bacon's performance as being inconsistent, or perfunctory. All I have to say to that is they were watching KEVIN BACON PLAY A DISABLED PERSON, and did not accept the character for who he was and let the story roll. I'm sure if DiCaprio played Arnie in Gilbert Grape today after his established fame people would be more critical and see him as the known actor.

This slice-of-life picture may seem slow at times, but it adds to the realism of a non-Hollywood blockbuster that tries to cram everything down your throat. It has a simple calmness to it, a child-like aura. And speaking of children, Evan Rachel Wood's performance is solid, believable and promises an incredible acting career for her future. She was a great casting call; not an over-dramatized, rag-dressed victim, but a believable 10-year-old in a small American town.

This movie captures the innocent friendship that can exist between an adult and a child, much like Mel Gibson's "Man without a face," as his character was accused and judged for spending time with his student. "Digging to China" will always remain a small film with dust on the sleeve at the video rental store, but I think it surpasses many Hollywood blockbusters that explode special effects and violence for the viewing public that just screams for more. Some may compare Bacon's character (Ricky) to Hoffman's in "Rain Man," but my heart goes out to Ricky in "Digging to China," for he was conscious of his problem, and was hoping for a miracle.

"You're going to grow up and I'm not."

This is what Ricky Schroth (Kevin Bacon) says to Harriet Frankovitz (Evan Rachel Wood) near the end of the film, expressing both the promise of her life, and the tragedy of his. It is precisely because of the potential of this sharp spoken, sharp witted, beautiful little girl with a mind of her own that we are mesmerized by her, as we are by our own children, and why we are so deeply saddened by the young man who is not a man and never will be.

This is a film that discovers itself after a clumsy start and develops until at the end we see the beauty and the tragedy of its story as an affirmation of life. Kevin Bacon starts awkwardly and has to work hard to conquer a demanding role. But so does Wood, who in the beginning at times seemed unsure of who she is and how she should feel and react. But both actors grow into their characters and become stronger and stronger as the film progresses. However, I think Director Timothy Hutton (Best Supporting Actor for Ordinary People in 1980) might have profited by re-shooting some of the earlier scenes.

It is interesting to compare Bacon's performance with that of other actors who have attempted to play mentally retarded or mentally challenged characters--I'm thinking here of Dustin Hoffman in The Rain Man (1988) and Billy Bob Thornton in Sling Blade (1996). Dustin Hoffman was of course something close to brilliant in his Academy Award winning role. He had a charming script, and because he played alongside Tom Cruise he benefitted from not having to carry the picture by himself. This was not the case for Billy Bob Thornton in Sling Blade, where too much was attempted without enough help so that Thornton ended up too much in front of the camera, and that was not always to his benefit. Here Bacon is wonderfully supported not only by Miss Wood, but by Mary Stuart Masterson who plays Harriet's "sister" Gwen. Some people have criticized Masterson's performance, but I think they are reacting to her non-sympathetic character, a woman, who, as Harriet says, "should have been a nurse. She's always making some guy feel better." I think Masterson was very subtle in a unrefined role, and touching as a woman who had a lot to learn. Also excellent and completely believable in a limited role was Marian Seldes as Ricky's mother.

I was surprised that such an original and deeply lived script was not adapted from a novel. No writer could have just dreamed up this story. It had to have been lived in some sense. (Part of it was dreamed up of course.) So I guess, Karen Janszen, who wrote the script must have lived it. At any rate, she is to be commended for such an original conception. The setting in North Carolina at a rural motel ("Mom won it in a divorce"), and the three who ran "Mac's Indian Cabins" was perfect for the tale. Her celebration of the spirit of a ten-year-old who thinks she can dig to China was precious and warm. Some of the lines were so perfect. I am thinking of Harriet's voice over after it is revealed that she and Ricky "got married" (baptized is more like it!). The ten-year-old says, "Gwen was mostly upset cause I got married before her."

I was happily surprised at what a quirky, insightful and often humourous story this was (along with a teary ending). Evan Rachel Wood is superb superb in naturally bringing to life her unusually sensitive and perceptive character -- at the pace she's on she's destined for several academy awards. Bacon fortunately doesn't overdo it -- more like dicaprio in gilbert grape than the irritating hoffman in rainman. The script is packed with little dialogue gems that you'd never find in a Disney movie, and though Hutton's first-time directing shows its inexperience, it actually fits in with the simple atmosphere of the movie. Don't expect too much and be pleasantly surprised like me.

I may shed a tear every now and then during a dramatic movie scene, but this film really kept the tears flowing... I'm torn between recommending this movie and protecting people from seeing it because it's so sad.

I've read many critics rip up this movie, also claiming Kevin Bacon's performance as being inconsistent, or perfunctory. All I have to say to that is they were watching KEVIN BACON PLAY A DISABLED PERSON, and did not accept the character for who he was and let the story roll. I'm sure if DiCaprio played Arnie in Gilbert Grape today after his established fame people would be more critical and see him as the known actor.

This slice-of-life picture may seem slow at times, but it adds to the realism of a non-Hollywood blockbuster that tries to cram everything down your throat. It has a simple calmness to it, a child-like aura. And speaking of children, Evan Rachel Wood's performance is solid, believable and promises an incredible acting career for her future. She was a great casting call; not an over-dramatized, rag-dressed victim, but a believable 10-year-old in a small American town.

This movie captures the innocent friendship that can exist between an adult and a child, much like Mel Gibson's "Man without a face," as his character was accused and judged for spending time with his student. "Digging to China" will always remain a small film with dust on the sleeve at the video rental store, but I think it surpasses many Hollywood blockbusters that explode special effects and violence for the viewing public that just screams for more. Some may compare Bacon's character (Ricky) to Hoffman's in "Rain Man," but my heart goes out to Ricky in "Digging to China," for he was conscious of his problem, and was hoping for a miracle.

City of Industry is another entry into Tough Guy Cinema. The story could be from any noir of any decade. It's a stylish, violent crime movie. You're either on board or off.

Roy (Harvey Keitel) comes to LA to help his brother (Timothy Hutton) and two other hoods pull a high profile robbery. They take down a jewelery store and before you know it they're splitting the cash. Then Skip (Stephen Dorff) caps Timothy Hutton (who looks like preppy sleaze with that scruffy beard).

This movie is about Harvey Keitel getting revenge, no matter what. He dedicates his life, or about a week in his life, to hunting down Stephen Dorff. It's a stylish, slick film, full of LA 'industrial' locations of the machinery and criminal type. Take a bit of To Live and Die in LA, a bit of old fashioned noir, a lot of blood (including a head-bashing finale), and Harvey just being Harvey. A highlight is the laptpop bit in the lawyer's office. Subtle menace.

Highly recommended.

This film gets two thumbs up and even some toes! The actors were incredible. The middle was a bit draggy, but Stephen Dorff ruled this movie. His character Skip stopped at nothing to get what he wanted and this is one of Dorff's best films. Keitel and Hutton were good too. The movie is fast-paced for tough men and women who like their action and money fast! If you ever need hints on how to rob a bank or jewelry store, City of Industry is the movie for you! If you're looking for a good film to watch and kick your feet up with...be my guest. This movie was all that and a bag of chips!

Start with the great depictions of some unseen parts of L.A. and graft on themes of revenge, anger, reciprocity, obligation and stoic acceptance and you have City of Industry - a little-seen film that pleases on a number of levels. Keitel is a master in this role and wonderfully plays against Jamsen, while Dorff's full bore anger makes his extermination that much more interesting. A real treat of a noirish-type movie with a stellar soundtrack that well matches the landscape and mood of City's undercurrent L.A.

Some explorers find a man that has been frozen inside ice for thousands of years. This man (John Lone) is believed to be a Neanderthal and a hunter from the age of the caveman. Some scientists decide to thaw him and and do some experiments on him. However, after the caveman comes back to life, the scientists get more than what they bargained for. The scientists still want to use him as an experiment, except for one of them. One scientist (Timothy Hutton) starts to treat the caveman as a real person instead of a lab specimen. Since the caveman has been frozen for thousands of years, he doesn't know what to think when he observes a water hose, a helicopter, and some of the people's language and expressions.

"Iceman" is one of the slowest paced movies I've ever seen. However, it is captivating to imagine a caveman coming back to life after being frozen for thousands of years. John Lone also does a great job acting as the caveman. Since it is a captivating idea and the actor did a great job, it keeps "Iceman" from being a boring movie. It's actually pretty good and overlooked.

If you've ever wondered what life was like back in the age of the caveman and if you wonder what it'd be like if a person from this day in age was to meet a real caveman, I recommend getting "Iceman."

Iceman is perhaps the most overlooked great sci-fi film of the 80's. Whether you're interested in anthropology, medical/scientific ethics or just a thought-provoking story on what it means to be human, try to take the time to watch this film.

I saw this movie when it first came out without foreknowledge. I expected either a horror film or a campy fish-out-of-water story - the typical Hollywood garbage we were getting in the mid-80's. And today, for that matter ("Hollow Man" comes to mind...) I was expecting laughable scenes of a prehistoric man boarding a NYC subway train and not being noticed...or something like that. But from the opening scene and credits, I knew I was in for something different. Smeaton's music here is particularly evocative of the elegiac mood of this movie.

John Lone does a magnificent job portraying a credible and sympathetic Neanderthal man. Not an easy job. Lindsay Crouse and Timothy Hutton (WHAT ever happened to them? Crouse was also good in House of Games...) are perfect as scientists with competing interests who eventually come together to realize the iceman's 40,000 year-old quest. The entire film is set in and around an arctic research laboratory that, conveniently, contains a large climate-controlled vivarium where Hutton is allowed to do his thing (cultural anthropology). The iceman, at least initially unaware of his true surroundings, is kept here between sessions subjecting him to medical experiments by the competing team using him as merely a specimen in their attempt to find the "cryoprotectant" that enabled him to be revivafied.

If this sounds boring, it's my fault in not conveying the mood of this film. But the sci-fi part is really only half the story. There is some great interaction; Hutton and the iceman singing "Heart of Gold" around a campfire for instance. Or the iceman "telling" about his children who he doesn't know have been dead for 40,000 years. Or the startled and bemused look of a scientist as he's speared through the chest with a stick by a frightened prehistoric Neanderthal in a laboratory basement. And of course the ending. Which is, surprisingly, quite satisfying.

ok, so everyone thinks it's a humane story, touching blah blah, but personally I only like it as it is the best worst film I have ever seen. The tenuosity of someone being able to thaw out after thousands of years and come alive, without the freezing of the water in every cell not rupturing it from the inside is usually saved for a more tongue in cheek comedy (caveman?). The beardy scientist who looks a bit neanderthal-esque is also a nice touch. But the highlight is the scene at the end with the 15 minute dialogue from a caveman who hasn't developed vocal chords (meaouu ugh ugh). I use this film as a benchmark for every other bad film I watch, and so far none have beaten it. can't wait to proudly have it in my collection.

DETERRENCE is one of those movies that nobody hears about until it comes out on video. Boosting no blockbuster stars and a rather small budget it didn't have much of a theatrical release. However, thanks to VHS and DVD, this movie is sure to have a long life.

The movie takes place in a small diner in Aztec, Colorado in the year 2008. The non-elected President Emerson (he took office after the former elected President died in office) is heavily campaigning in the hope of becoming "legit" and needs a major victory. Emerson and company are stuck at the diner because of a major snowstorm that prevents all travel. While there, it is learned that the son of Saddam Hussein (now the leader of Iraq) has invaded Kuwait and is preparing to invade Saudi Arabia as well. Hundreds of American soldiers have been killed in the process and the threat from Iraq could lead to a nuclear holocaust. The momentum of the movie builds from that point on as we are drawn into the interactions between Emerson and his staff and the response of the diner's customers.

The strength of this film is it's dialogue. You have to turn up the volume otherwise you might miss something. Though there are no major blockbuster stars (Kevin Pollock is a great actor, but doesn't make blockbuster movies), the acting is superb and is better than many big budget pictures.

The movie only has two flaws. One of them really isn't even a flaw, just a drawback. The movie works and moves well, but would work even better as a play or live television broadcast. Much of the energy derived from a live audience is lost because of the indifference of the camera lens, but that is something beyond the filmmaker's control. The only other complaint is the ending of the film. The entire movie seems realistic and totally plausible, but the climax of the film is rather anti-dramatic for such a gut-wrenching pace. Nevertheless, the film is so powerful and thought-provoking that, though the finale leaves something to be desired it doesn't ruin the movie. Movies don't get much better than that.

This was a difficult movie to get through objectively -- throughout the entire thing, we find ourselves staring at the obvious similarities between the events in this film and the events that have happened since September 11, 2001.

The story is pretty simple: President Walter Emerson (Kevin Pollack) is enjoying his unelected presidency (serving first as Vice President and later taking over for his President) when he and his campaigning staff are caught in a snow storm and stranded in a small-town Colorado diner.

Out of nowhere, President Emerson and his staff see on a cable news network (ala MSNBC) what appears to be the start of a war. Suddam Hussein's son has apparently invaded Kuwait and killed many Americans. The movie quickly turns into a series of back-and-forth arguments on whether to release nuclear weapons on Iraq.

The President hears "do it" and "don't do it" from Chief-of-Staff Marshall Thompson (Timothy Hutton), other advisors, his wife, and civilians who are trapped in the diner with him. The question becomes suspensfully clear: Will the President of the United States "nuke" a whole civilization?

I liked this movie simply because it was so suspensful. Not many movies "keep me on the edge of my seat," but this one did. It evokes a fear that is now all too familiar to us -- not knowing what's next and hoping, just hoping, that the people who are in charge are responsible enough to make the right decisions.

The entire movie takes place in just one location -- the diner -- the use of just one set is highly effective as it provides us with a sense of the President's emotional, as well as physical, isolation. We're right there with him, telling him what to do just as the other civilians who are trapped.

There's a scene in The American President where Michael Douglass, playing the President, must decide whether or not to bomb a building in some foreign country -- Deterrence is kind of like a prolonged version of that scene. In Deterrence, however, Kevin Pollack's President must decide whether or not to bomb a whole civilization, rather than just a building. Rating: 4 / 4.

SMITH TALKS: The Future of Movie Reviews ...

"Deterrence" is probably the most underrated movie in history, and therefore doesn't receive the accolades which it truly deserves.

Kevin Pollack is the President. Seeing him play this part, I honestly believed that the role was made for him. His way of expressing determination when speaking to IBS while in the diner when making his speech...and speaking directly to the Iraqi people...was earth-shattering. I truly believe that no one else could have played that role to the degree it was played.

Timothy Hutton was superb in his role as well. His character argued against the President when needed, and recoiled when necessary.

All of the roles were superb, right down to Sean Astin as the smart-mouthed punk. I must, however, give exceptional credit to the man who portrayed the anchor on IBS. When I learned he was a local TV weatherman, I was shocked. He could easily handle a news anchor desk...and should be doing so.

The most extraordinary part of this film was that it was all shot inside the diner, never changing scenes.

I highly recommend this movie to anyone who wants a feature that will literally glue them to their chairs. You won't even want to blink for fear of missing something. My favorite scene is the dialogue when Pollack is speaking to the Iraqi representative:

Iraqi: "Mr. President, understand this: We have the oil. We have the power."

Pollack: "I have the match." (slams phone receiver down, cutting connection)

If THAT isn't tension, someone please tell me what is.

If my writing ever goes to screen...I want this writer, director, and producer on it. They know how to write, direct, and produce a movie that is well worthy of academy award nominations and trophies.

John Sayles, who wrote, directed, and edited Sunshine State, is one of the finest directors working today. He is able to take seemingly unrelated stories and create a wonderful film. His work, including Limbo, Eight Men Out, Lone Star, and Matewan are all movies that make you think. I would have liked more extras on this DVD, but Sayles commentary is interesting and does provide some insight into the movie making process. The movie, about developers moving into a little town in Florida and the effect on the town, looks at class and race differences and provides a different look at Florida, much like Limbo did for Alaska. The cast is really good, led by Edie Falco, who provides a Oscar worthy performance as a "motelier" who wants more out of life but doesn't seem to want it enough to leave, and by Angela Bassett, who did leave and maybe is wondering what she got of life by leaving. Bill Cobbs and TYimothy Hutton also provide solid performances in this movie. As I indictaed, the lack of extras is disappointing, but the movie itself is a gem. John Sayles, whose body of work stands with any director working today, has produced another film that will leave you thinking about it long after you view it.

Land developers preying on naive and worldly-wise landowners in Florida isn't the most original idea, indeed it sounds dated, but this ensemble comedy-drama from Writer-Director John Sayles is as engaging as a warm ocean breeze on your favorite Floridian beach. All the interlocking stories of the potentially wealthy residents are entertaining and amusing but the film really belongs to Angela Bassett and James McDaniel as a woman returning to her home town with her husband, half-heartedly willing to confront unresolved family affairs and relationships. They provide a strong backbone to this gentle and funny film.

Author/screenwriter/director/editor--John Sayles is unique in the film industry. After a slew of odd jobs, he became a novelist, then a screenwriter and, ultimately, the winner of a MacArthur "genius" grant to finance his own films. His Return of the Secaucus Seven was the beginning of a series of highly individual films that include Brother From Another Planet, the wonderful Eight Men Out, Lone Star and now this bittersweet film about Florida. The cast--particularly Edie Falco and Angela Bassett, who both give shining performances--is wonderful, with a winning turn by Ralph Waite (remember The Waltons?) as Falco's blind father.

This is a film about history, about pride, about mother-daughter turmoil, about land development (and greedy, conniving developers) about the human condition. It is funny and touching, irreverent and fundamentally true; it is also well-conceived and sometimes hilarious. Mary Steenburgen (with one of those amazing facelifts that leaves her expressionless) nevertheless is great as what amounts to a middle-aged cheerleader, trying to pump civic pride into a place that has precious little of it. There are a number of small, golden moments: a scene between Waite and young Alex Lewis as Terrell is understated and lovely.

A fine, fine film with a splendid cast, and some messages that are delivered without a single heavy-handed moment.

Don't miss this one!

John Sayles, who wrote, directed, and edited Sunshine State, is one of the finest directors working today. He is able to take seemingly unrelated stories and create a wonderful film. His work, including Limbo, Eight Men Out, Lone Star, and Matewan are all movies that make you think. I would have liked more extras on this DVD, but Sayles commentary is interesting and does provide some insight into the movie making process. The movie, about developers moving into a little town in Florida and the effect on the town, looks at class and race differences and provides a different look at Florida, much like Limbo did for Alaska. The cast is really good, led by Edie Falco, who provides a Oscar worthy performance as a "motelier" who wants more out of life but doesn't seem to want it enough to leave, and by Angela Bassett, who did leave and maybe is wondering what she got of life by leaving. Bill Cobbs and TYimothy Hutton also provide solid performances in this movie. As I indictaed, the lack of extras is disappointing, but the movie itself is a gem. John Sayles, whose body of work stands with any director working today, has produced another film that will leave you thinking about it long after you view it.

Land developers preying on naive and worldly-wise landowners in Florida isn't the most original idea, indeed it sounds dated, but this ensemble comedy-drama from Writer-Director John Sayles is as engaging as a warm ocean breeze on your favorite Floridian beach. All the interlocking stories of the potentially wealthy residents are entertaining and amusing but the film really belongs to Angela Bassett and James McDaniel as a woman returning to her home town with her husband, half-heartedly willing to confront unresolved family affairs and relationships. They provide a strong backbone to this gentle and funny film.

Author/screenwriter/director/editor--John Sayles is unique in the film industry. After a slew of odd jobs, he became a novelist, then a screenwriter and, ultimately, the winner of a MacArthur "genius" grant to finance his own films. His Return of the Secaucus Seven was the beginning of a series of highly individual films that include Brother From Another Planet, the wonderful Eight Men Out, Lone Star and now this bittersweet film about Florida. The cast--particularly Edie Falco and Angela Bassett, who both give shining performances--is wonderful, with a winning turn by Ralph Waite (remember The Waltons?) as Falco's blind father.

This is a film about history, about pride, about mother-daughter turmoil, about land development (and greedy, conniving developers) about the human condition. It is funny and touching, irreverent and fundamentally true; it is also well-conceived and sometimes hilarious. Mary Steenburgen (with one of those amazing facelifts that leaves her expressionless) nevertheless is great as what amounts to a middle-aged cheerleader, trying to pump civic pride into a place that has precious little of it. There are a number of small, golden moments: a scene between Waite and young Alex Lewis as Terrell is understated and lovely.

A fine, fine film with a splendid cast, and some messages that are delivered without a single heavy-handed moment.

Don't miss this one!

Despite being a romantic comedy, this is not your average chick flick. It is free of the saccharin sentimentality that makes many such movies unpalatable to most men (and to me.) Quirky and surprising, this movie will make you cackle with laughter if you are willing to immerse yourself, even momentarily, in its magic fate-driven atmosphere. This has a beautiful, old-fashioned feel to it, in the vein of "Breakfast at Tiffany's"--sweet but edgy. Though the characters are somewhat lacking in depth, they are not in charm. Timothy Hutton is quite yummy as the brainy and ironic professor, and Maria Grazia is both charismatic and unfairly sexy. Skip the big-budget Hollywood dross and indulge in this understated and memorable treat.

This is a great off-beat comedy. Very well done... albiet just a tad strange. But hey different can be good... and in this case it's very good. Excellent love story, starts off slow and then speeds up to a blur of events that really keep things interesting. I would have to say it's a bit like "2000 Cigarettes" in it's style... everything happens in one night and it leaves you going "wow" at the end.

Guys always seem to face a relationship hurdle, the movie to watch with the girlfriend(boyfriend). There aren't many movies out there that a couple can always enjoy together. Some women just can't take another viewing of Ronin or Get Carter (please find me one who can). This movie makes being a boyfriend movie viewer easy. Its witty, its funny, its well done, and at times it makes that single soap-opera tear very real. As you watch the series of events unfold, you just can't help but feel like you were Isaac, or Aurora. You feel for the characters and you feel for some reason, you start to feel for yourself. A must for any romantic at heart. A must for anyone who's a fan of good movies. A must for anyone who can't find a good DVD to watch in the dark as you cry over a lost soul. In general, a must.