Toni-Collette Movie Reviews

Based on the play written by Louis Nowra, Cosi is the uplifting story of how a group of psychiatric hospital tenants come together to perform an Italian opera Cosi Fan Tutte (Mozart) against the initial thoughts of the amateur director who has agreed to help the patients "come out of their shells". This is a tale of how "Jerry" (as one of the patient labels him) learns to accept these people and eventually he discovers and reveals to the audience that although these people are considered "crazy lunatics", they are, in essence, no more crazy than the people on the 'outside'.

This movie is for those looking for an original, creative film that guarantees laughs and smiles as well as entertaining characters and good ol' Aussie humour.

In a surprising turn of events, Muriel reinvents herself as "Mariel," leaves home, and shows 'em all. Along the way she learns what's really important in life.

Quite charming, "Muriel's Wedding" isn't a laugh fest it's sometimes written up to be. While hilarious in parts, this movie has serious story lines to it that are kept from making the overall movie a depressing event by punches of quirkiness. (There's a scene where Muriel is speaking to a handsome male swimmer that's hysterical just because of her facial movements).

Highly recommended.

Toni Collete is absolutely charming as Muriel. I can't BELIEVE she is the same woman who was in sixth sense...her talent is unbelievable! Collete embodies Muriel with many humanistic quirks that make her a real character and bring the film it's endearing nature.

The DVD quality leaves a lot to be desired. I would KILL to have this released with commentary or outtakes. But, as it is, it's completely worth owning just because it can and should be watched whenever you need a feel good flick to pick up your spirits.

There is humor, but rather than the cartoonish humor of "Office Space," "Clockwatchers" shows the ridiculous in little everyday workplace happenings: playing with the adjustment mechanisms on your chair, popping sheets of bubble wrap, or using Liquid Paper as nail polish.

The weird combination of emotions that these temps go through -- hopelessness and ambition, despair and frivolity, anger mixed with s**t-eating grins -- are extremely realistic and something that those in a similar work situation can probably easily relate to. The performances are outstanding, especially Toni Collette and Parker Posey.

Highly recommended!

Child psychologist Bruce Willis is shot and wounded by an angry former patient who later kills himself. About a year later, Willis finds that his marriage is crumbling and comes across a young boy(Haley Joel Osment) who seriously needs his help. Osment has a special talent that allows him to look into the past. He is also haunted by spirits and says that Willis is the only person who can help him.

"The Sixth Sense" is a so-so thriller. I wasn't satisfied with the first two-thirds of the film but the last third is great. The last third of the film is genuinely heartfelt and stunning. As a child actor, Osment gives a good performance but I didn't think his portrayal was Oscar-worthy; his character's emotions seem too affected at times. I also wish the film would have gone into much greater detail about the dead girl-ghost character who asks Osment for his help. If anything, "The Sixth Sense" certainly has a GREAT twist-ending. The surprise ending is both logical and intelligent, and I didn't come close to guessing this conclusion beforehand. The surprise conclusion significantly helps in elevating the film.

Despite its weaknesses, "The Sixth Sense" should be seen by every movie buff at least once. For a superior thriller with an even greater twist-ending, see Robin Hardy's "The Wicker Man."

He is a genial writer. With every work he excels oneself. His novel have Nick Hornby be made as a worldwide famous author. He has inspired the film with his novels.
The film script of "About a boy" is based on a novel from Nick Hornby. The story looks how one of the partners is affected by the spiritual conversation of the other person.
The story is full of station.
Will Freeman is a human, who sees to it that his outward appearance is perfect all the time and who loves women. That is why he has a lot of women. Furthermore he hates kids. However he changes his mind when he gets to know Marcus.
Marcus is a young teenager who is not trendy, is bullied at school and his mother wants to kill herself. A friendship begins.
First Will Freeman is an egoistic person, but afterwards he is very warm hearted. Hugh Grant performs his part very well.
Marcus is mature for his age. Nicholas Hoult plays his part convincingly.
All in all, the director creates an amusing film who is especially family-friendly. The Film is easy to understand for kids. Especially worth seeing is Hugh Grant as Will Freeman.
Yet, the book convinces more, course of the far-reading action.

Before you say "again!" ... yes, you are right, he was such a git in "Bridget Jones' Diary" ... let me add somthing more. There's another "boy" who steps into his comfy life, and that's Marcus, 12 years old, whose unlucky fate is sealed in a new school when his mother Toni Collette (again, simply great!) called him "I love you." Because of his ex-hippie mom who is very tender, but can easily raise hell when she is in a bad mood, Marcus seeks for a haven where he and his mom can find a help. And here's Will, plenty of time, and money too.

So the very unlikely connection is established when Marcus accidentally killed a duck in a park by a loaf of bread (seriously), and his mom is brought to ER in a hospital. Inspite of constant rejection on the side of Will, who considers himself as an human island, their friendship as temporary boy-and-father status slowly starts to develop.

First, remember this. You will find Hugh Grant's "Will" unlikeable fellow at first, who chases only single mothers for his date (see the reason in film). At least, he is honest, and don't hide that fact. Charmingly self-centered Will, however, will be very attractive after Marcus's character comes to him. So after the opening credit, you have to wait a while.

Second, though this has a side of romantic comedy (particularly after Rachael Weisz appears), you soon realize that "About a Boy" is basically the changing friendship between these "boys." Hugh Grant delivers a nice performance as a helplessly self-assured guy after his "Daniel Clever" alongside with Bridget Jones, but it is the talented newcomer Nicholas Hoult who should be called the real star of the film. He is natural, likeable, and most of all, believable. Don't be put off just because this is not about girls.

Directors Paul and Chris Weitz Bros. are famous for "American Pie," but there's no gross-out elements that stand out in that film (and "American Pie" is in reality confirming a very traditional values between boys and girls). They again succeed in portraying a web of credible relations between characters, punctuated with very funny moments. Though too many narrations (and in Grant's mumbling British accent I find them very hard to understand) are often annoying, and the finale might be a step longer than it should be, the total result is very amusing, and honest as well. I like it.

Stylish, independently wealthy Londoner Will Freeman (Hugh Grant) has the financial security to do nothing but date indiscriminately, and discovers dating insecure single mothers allows him to ease in and out of relationships unscathed by drama. So he sets about meeting more of them at a single-parents group. Needless to say, one of the children he meets, Marcus (Nicholas Hoult), gets under his skin with a combination of boyish charm and an undeniable need to be loved.

The film takes these two friends through experiences that are both hilarious and heartbreaking: Will buys Marcus some hip new trainers (Brit-speak for sneakers), but what can he do when the next day the kids at Marcus's rough school beat him up and steal them? Marcus's wreck of a mother, Fiona (Toni Collette), lonely and suicidal, doesn't quite know what to make of this oddball friendship. Fiona could easily be a ... drip, but Collette effectively evokes the desperation of a person who feels truly alone in the world.

Bursting with (but not overburdened by) the pop culture references that are the trademark of both Hornby's fiction and the Weitz brothers' films, this wickedly funny and surprisingly sweet film may be the perfect star vehicle for Grant. He's full of piss and vinegar and has at long last set aside the wobbly, stammering persona best left at FOUR WEDDINGS AND A FUNERAL.

He is a genial writer. With every work he excels oneself. His novel have Nick Hornby be made as a worldwide famous author. He has inspired the film with his novels.
The film script of "About a boy" is based on a novel from Nick Hornby. The story looks how one of the partners is affected by the spiritual conversation of the other person.
The story is full of station.
Will Freeman is a human, who sees to it that his outward appearance is perfect all the time and who loves women. That is why he has a lot of women. Furthermore he hates kids. However he changes his mind when he gets to know Marcus.
Marcus is a young teenager who is not trendy, is bullied at school and his mother wants to kill herself. A friendship begins.
First Will Freeman is an egoistic person, but afterwards he is very warm hearted. Hugh Grant performs his part very well.
Marcus is mature for his age. Nicholas Hoult plays his part convincingly.
All in all, the director creates an amusing film who is especially family-friendly. The Film is easy to understand for kids. Especially worth seeing is Hugh Grant as Will Freeman.
Yet, the book convinces more, course of the far-reading action.

Before you say "again!" ... yes, you are right, he was such a git in "Bridget Jones' Diary" ... let me add somthing more. There's another "boy" who steps into his comfy life, and that's Marcus, 12 years old, whose unlucky fate is sealed in a new school when his mother Toni Collette (again, simply great!) called him "I love you." Because of his ex-hippie mom who is very tender, but can easily raise hell when she is in a bad mood, Marcus seeks for a haven where he and his mom can find a help. And here's Will, plenty of time, and money too.

So the very unlikely connection is established when Marcus accidentally killed a duck in a park by a loaf of bread (seriously), and his mom is brought to ER in a hospital. Inspite of constant rejection on the side of Will, who considers himself as an human island, their friendship as temporary boy-and-father status slowly starts to develop.

First, remember this. You will find Hugh Grant's "Will" unlikeable fellow at first, who chases only single mothers for his date (see the reason in film). At least, he is honest, and don't hide that fact. Charmingly self-centered Will, however, will be very attractive after Marcus's character comes to him. So after the opening credit, you have to wait a while.

Second, though this has a side of romantic comedy (particularly after Rachael Weisz appears), you soon realize that "About a Boy" is basically the changing friendship between these "boys." Hugh Grant delivers a nice performance as a helplessly self-assured guy after his "Daniel Clever" alongside with Bridget Jones, but it is the talented newcomer Nicholas Hoult who should be called the real star of the film. He is natural, likeable, and most of all, believable. Don't be put off just because this is not about girls.

Directors Paul and Chris Weitz Bros. are famous for "American Pie," but there's no gross-out elements that stand out in that film (and "American Pie" is in reality confirming a very traditional values between boys and girls). They again succeed in portraying a web of credible relations between characters, punctuated with very funny moments. Though too many narrations (and in Grant's mumbling British accent I find them very hard to understand) are often annoying, and the finale might be a step longer than it should be, the total result is very amusing, and honest as well. I like it.

Stylish, independently wealthy Londoner Will Freeman (Hugh Grant) has the financial security to do nothing but date indiscriminately, and discovers dating insecure single mothers allows him to ease in and out of relationships unscathed by drama. So he sets about meeting more of them at a single-parents group. Needless to say, one of the children he meets, Marcus (Nicholas Hoult), gets under his skin with a combination of boyish charm and an undeniable need to be loved.

The film takes these two friends through experiences that are both hilarious and heartbreaking: Will buys Marcus some hip new trainers (Brit-speak for sneakers), but what can he do when the next day the kids at Marcus's rough school beat him up and steal them? Marcus's wreck of a mother, Fiona (Toni Collette), lonely and suicidal, doesn't quite know what to make of this oddball friendship. Fiona could easily be a ... drip, but Collette effectively evokes the desperation of a person who feels truly alone in the world.

Bursting with (but not overburdened by) the pop culture references that are the trademark of both Hornby's fiction and the Weitz brothers' films, this wickedly funny and surprisingly sweet film may be the perfect star vehicle for Grant. He's full of piss and vinegar and has at long last set aside the wobbly, stammering persona best left at FOUR WEDDINGS AND A FUNERAL.

As good as the Artistic production is on this Work, Kidman is just Plain Awful.

And Just as I Loved The Start of SCREAM because Drew was Done away with, it was brilliant that Kidman's Character was appropriately Dispatched.

Such a waste of Space for these Hours.

As befits such a character-driven film, the acting in "The Hours" is uniformly superb. Meryl Streep is luminous throughout as Clarissa, but particularly shines in her final scenes as she welcomes a stranger into her home; and Julianne Moore brings a fascinating combination of fragility and power to the role of the repressed Laura. Toni Collette infuses her short scenes as Laura's friend and neighbor Kitty with a marvelous counterpoint to Moore's quiet introspection; Miranda Richardson is restrained Victorian perfection as Virginia Woolf's demure sister; and Ed Harris is achingly brilliant in the small but showy role of Clarissa's dying friend.

Among this handful of flawless characterizations, it is Nicole Kidman as Virginia Woolf who nonetheless stands out. She completely disappears into her role; although much comment has been made about Kidman's prosthetic nose and the way it completely changes her appearance, it is not makeup alone which transforms the vivacious actress into the dowdy authoress. Kidman uses her mouth and eyes with incredible economy: her bowed lips move without disturbing her pale, translucent cheeks; and her downturned, darting eyes communicate eloquently her character's sense of uneasy restlessness. Kidman's Virginia seems uncomfortable in her tall body, and her voice is dangerously strained. It's a transcendent performance, and one with which Kidman solidifies her growing reputation as one of her generation's most talented screen actresses.

The film is beautifully photographed in dark, muted hues; the sets appear just as they were described in Cunningham's hauntingly visual novel. While Philip Glass's score is at times a bit obtrusive, it nonetheless contibutes effectively to the atmosphere of the film. The most stunning technical achievement of the film is the wonderful costume design; clothing styles and fabrics have been painstakingly planned and executed, providing some subtle foreshadowing and highlighting of important themes and motifs thoughout the narrative. Costumer Ann Roth should definitely find herself in the running for an Oscar, as should Streep, Moore, Kidman, Harris, director Stephen Daldry, film editor Peter Boyle, and of course, the Picture itself. Altogether, "The Hours" is an outstanding film that provides an extraordinary cast ample and unique opportunities to shine, especially its formidable trio of leading ladies.

The movie, based on a Pulitzer prize winning novel, contains three stories which touch upon each other but rarely actually connect, the common thread being English author Virginia Woolf [Kidman] and her novel, 'Mrs. Dalloway". Woolf was a brilliant writer who suffered from severe mental illness. She committed suicide in 1941 when she finally could no long cope with her disease. There is the story of Laura Brown [Moore], set in 1951, in which the character, who is reading Woolf's book, toys with the idea of suicide. The last story revolves around Clarissa Vaughn [Streep]. Set in present day, it is about her relationship with her ex-lover [Ed Harris], who is dying from AIDS and whose only out seems to be to kill himself. On the surface, all this dallying with suicide may seem grim and depressing, the movie is actually life-affirming, but, as I've said, it's not meant for mass consumption.

Kidman deserved her Oscar for Best Actress in "The Hours". Like Bette Davis before her, she is always willing to take on an acting challenge. Here, having donned a prosthetic nose, she is barely recognizable. Still, I wish there were an Oscar for Best Ensemble Acting because that is the one "The Hours" should have received because each remarkable individual performance adds to the power of the film as a whole.

As good as the Artistic production is on this Work, Kidman is just Plain Awful.

And Just as I Loved The Start of SCREAM because Drew was Done away with, it was brilliant that Kidman's Character was appropriately Dispatched.

Such a waste of Space for these Hours.

As befits such a character-driven film, the acting in "The Hours" is uniformly superb. Meryl Streep is luminous throughout as Clarissa, but particularly shines in her final scenes as she welcomes a stranger into her home; and Julianne Moore brings a fascinating combination of fragility and power to the role of the repressed Laura. Toni Collette infuses her short scenes as Laura's friend and neighbor Kitty with a marvelous counterpoint to Moore's quiet introspection; Miranda Richardson is restrained Victorian perfection as Virginia Woolf's demure sister; and Ed Harris is achingly brilliant in the small but showy role of Clarissa's dying friend.

Among this handful of flawless characterizations, it is Nicole Kidman as Virginia Woolf who nonetheless stands out. She completely disappears into her role; although much comment has been made about Kidman's prosthetic nose and the way it completely changes her appearance, it is not makeup alone which transforms the vivacious actress into the dowdy authoress. Kidman uses her mouth and eyes with incredible economy: her bowed lips move without disturbing her pale, translucent cheeks; and her downturned, darting eyes communicate eloquently her character's sense of uneasy restlessness. Kidman's Virginia seems uncomfortable in her tall body, and her voice is dangerously strained. It's a transcendent performance, and one with which Kidman solidifies her growing reputation as one of her generation's most talented screen actresses.

The film is beautifully photographed in dark, muted hues; the sets appear just as they were described in Cunningham's hauntingly visual novel. While Philip Glass's score is at times a bit obtrusive, it nonetheless contibutes effectively to the atmosphere of the film. The most stunning technical achievement of the film is the wonderful costume design; clothing styles and fabrics have been painstakingly planned and executed, providing some subtle foreshadowing and highlighting of important themes and motifs thoughout the narrative. Costumer Ann Roth should definitely find herself in the running for an Oscar, as should Streep, Moore, Kidman, Harris, director Stephen Daldry, film editor Peter Boyle, and of course, the Picture itself. Altogether, "The Hours" is an outstanding film that provides an extraordinary cast ample and unique opportunities to shine, especially its formidable trio of leading ladies.

The movie, based on a Pulitzer prize winning novel, contains three stories which touch upon each other but rarely actually connect, the common thread being English author Virginia Woolf [Kidman] and her novel, 'Mrs. Dalloway". Woolf was a brilliant writer who suffered from severe mental illness. She committed suicide in 1941 when she finally could no long cope with her disease. There is the story of Laura Brown [Moore], set in 1951, in which the character, who is reading Woolf's book, toys with the idea of suicide. The last story revolves around Clarissa Vaughn [Streep]. Set in present day, it is about her relationship with her ex-lover [Ed Harris], who is dying from AIDS and whose only out seems to be to kill himself. On the surface, all this dallying with suicide may seem grim and depressing, the movie is actually life-affirming, but, as I've said, it's not meant for mass consumption.

Kidman deserved her Oscar for Best Actress in "The Hours". Like Bette Davis before her, she is always willing to take on an acting challenge. Here, having donned a prosthetic nose, she is barely recognizable. Still, I wish there were an Oscar for Best Ensemble Acting because that is the one "The Hours" should have received because each remarkable individual performance adds to the power of the film as a whole.

As good as the Artistic production is on this Work, Kidman is just Plain Awful.

And Just as I Loved The Start of SCREAM because Drew was Done away with, it was brilliant that Kidman's Character was appropriately Dispatched.

Such a waste of Space for these Hours.

As befits such a character-driven film, the acting in "The Hours" is uniformly superb. Meryl Streep is luminous throughout as Clarissa, but particularly shines in her final scenes as she welcomes a stranger into her home; and Julianne Moore brings a fascinating combination of fragility and power to the role of the repressed Laura. Toni Collette infuses her short scenes as Laura's friend and neighbor Kitty with a marvelous counterpoint to Moore's quiet introspection; Miranda Richardson is restrained Victorian perfection as Virginia Woolf's demure sister; and Ed Harris is achingly brilliant in the small but showy role of Clarissa's dying friend.

Among this handful of flawless characterizations, it is Nicole Kidman as Virginia Woolf who nonetheless stands out. She completely disappears into her role; although much comment has been made about Kidman's prosthetic nose and the way it completely changes her appearance, it is not makeup alone which transforms the vivacious actress into the dowdy authoress. Kidman uses her mouth and eyes with incredible economy: her bowed lips move without disturbing her pale, translucent cheeks; and her downturned, darting eyes communicate eloquently her character's sense of uneasy restlessness. Kidman's Virginia seems uncomfortable in her tall body, and her voice is dangerously strained. It's a transcendent performance, and one with which Kidman solidifies her growing reputation as one of her generation's most talented screen actresses.

The film is beautifully photographed in dark, muted hues; the sets appear just as they were described in Cunningham's hauntingly visual novel. While Philip Glass's score is at times a bit obtrusive, it nonetheless contibutes effectively to the atmosphere of the film. The most stunning technical achievement of the film is the wonderful costume design; clothing styles and fabrics have been painstakingly planned and executed, providing some subtle foreshadowing and highlighting of important themes and motifs thoughout the narrative. Costumer Ann Roth should definitely find herself in the running for an Oscar, as should Streep, Moore, Kidman, Harris, director Stephen Daldry, film editor Peter Boyle, and of course, the Picture itself. Altogether, "The Hours" is an outstanding film that provides an extraordinary cast ample and unique opportunities to shine, especially its formidable trio of leading ladies.

The movie, based on a Pulitzer prize winning novel, contains three stories which touch upon each other but rarely actually connect, the common thread being English author Virginia Woolf [Kidman] and her novel, 'Mrs. Dalloway". Woolf was a brilliant writer who suffered from severe mental illness. She committed suicide in 1941 when she finally could no long cope with her disease. There is the story of Laura Brown [Moore], set in 1951, in which the character, who is reading Woolf's book, toys with the idea of suicide. The last story revolves around Clarissa Vaughn [Streep]. Set in present day, it is about her relationship with her ex-lover [Ed Harris], who is dying from AIDS and whose only out seems to be to kill himself. On the surface, all this dallying with suicide may seem grim and depressing, the movie is actually life-affirming, but, as I've said, it's not meant for mass consumption.

Kidman deserved her Oscar for Best Actress in "The Hours". Like Bette Davis before her, she is always willing to take on an acting challenge. Here, having donned a prosthetic nose, she is barely recognizable. Still, I wish there were an Oscar for Best Ensemble Acting because that is the one "The Hours" should have received because each remarkable individual performance adds to the power of the film as a whole.