- The Washington Times - Thursday, October 3, 2002


• Das Experiment (2002) (R) A German movie about a dubious group dynamics experiment in which 20 subjects are encouraged to "role-play" as prisoners and guards. The participants tend to get carried away. In German with English subtitles. Exclusively at Visions Cinema.

• Just a Kiss (2002) (R: Preoccupation with sexual promiscuity and depravity in a facetious framework; occasional profanity, fleeting nudity and simulations of intercourse) 1/2.. The New York romantic comedy continues to deteriorate in this ensemble monstrosity about a ludicrous yet potentially fatal outbreak of infidelity and opportunism among a septet consisting of Ron Eldard, Kyra Sedgwick, Patrick Breen (who also wrote the godforsaken thing), Marley Shelton, Taye Diggs, Marisa Tomei and Sarita Choudhury. Zoe Caldwell also drops in out of left field as a foul-mouthed dowager for two unflattering scenes. The mixture of insincerity, prurience, morbidity and facetiousness is consistently unbeguiling.

• Moonlight Mile (2002) (PG-13) A domestic tearjerker predicated on the experiences of writer-director Brad Silberberg, who for a time became inseparable from the parents of his fiancee, the young actress Rebecca Schaeffer, a murder victim. Jake Gyllenhaal is cast as the filmmaker's fictionalized alter-ego, Joe Nast. Dustin Hoffman and Susan Sarandon play the parents and Holly Hunter a prosecutor.

• Red Dragon (2002) (R) A remake of Thomas Harris' crime novel, the book that introduced Hannibal Lecter, in a subsidiary role. The character's screen time has been expanded to accommodate Anthony Hopkins. Edward Norton is cast as the hero, Will Graham, an intuitive FBI agent who barely escaped death during an encounter that led to the apprehension of the sinister shrink. Graham is asked to assist with the hunt for a serial killer who targets families and may have been communicating with Lecter. This fiend, who favors the ferocious Red Dragon identity, is played by Ralph Fiennes.


• Ballistic: Ecks vs. Sever (2002) (R: Systematic and gratuitous graphic violence; episodes that threaten a child with abduction and homicide) No stars. The most stupefying and worthless action spectacle since "XXX." Explosives rather than ballistics are the trademark of this redundant bummer, which deploys Antonio Banderas and Lucy Liu as disaffected government agents. Actually, it's his Ecks (a last name) and her Sever (a code name) against Gregg Henry as a despotic espionage chief called Gant. From the look of his hairpiece and sneer, Gant is clearly living on borrowed time. Sever, a clone of "La Femme Nikita," is supposed to be fiercely omniscient and invincible, a reputation that can't survive Miss Liu's impassive closeups and picturesque head swings.

• The Banger Sisters (2002) (R: Occasional profanity and systematic sexual vulgarity; doting allusions to drug use and promiscuity) 1/2*. A tacky, smugly facetious variant on "The First Wives' Club," with Goldie Hawn and Susan Sarandon as former rock groupies they used to grope Jim Morrison during their salad days who must navigate a moronic reunion as advancing middle-agers. Miss Hawn is cast as the incorrigible free spirit, or hapless tart, Suzette, who aspires to do a bit of freeloading off her erstwhile comrade, Lavinia, now an uptight, wealthy housewife in Phoenix. Geoffrey Rush is inserted as a timorous and perhaps suicidal writer who helps finance the trip and may be mistaken for Suzette's perfect consort. Lavinia has two teen-age daughters. Suzette arrives just in time to save the eldest, played by Erika Christensen, from an acid overdose at her senior prom. The younger, not yet as drastic, is played by Miss Sarandon's own daughter, Eva Amurri. The abiding lesson is that Lavinia needs to get back in touch with her inner hippie. All too obviously, writer-director Bob Dolman has never outgrown his.

• Barbershop (2002) (PG-13: occasional violence, crude language) **. Rapper Ice Cube's latest star vehicle involves a day in the life of an inner-city Chicago barber shop. He isn't the only rapper in the engaging cast. Chart-topper Eve portrays the only woman in a testosterone-charged shop where hot-button issues like reparations are kicked around as the snipped hair flies. The conversations are as lively as the cast, but the film's banal subplots and occasional preaching spoil the fun. Also starring Cedric the Entertainer as Eddie, the barber shop sage. Reviewed by Christian Toto.

• City By the Sea (2002) (R: Occasional profanity, graphic violence and sexual candor; depictions of drug use and allusions to addiction) **1/2. An absorbing but overextended melodrama about a father-son estrangement that resurfaces when the son, Joey LaMarca, a young felon and drug addict played by James Franco, becomes wanted for murder and his father, a New York City police detective named Vincent LaMarca, played by Robert De Niro, attempts to talk him into surrender. The title refers to the Long Island town of Long Beach, a once popular beach resort that declined into a slum in the 1970s. The setting is superbly evoked by director Michael Caton-Jones and cinematographer Karl Walter Lindenlaub, who also collaborated on "Rob Roy" and "The Jackal," but it's also an evocative fakeout: Asbury Park, N.J. doubles for a picturesesquely derelict Long Beach because the latter has rebounded from decay in recent decades. Based to some extent on the experiences of a real Vincent LaMarca, since retired from the police force, the movie is bolstered by several distinctive performers, including Patti LuPone as the hero's embittered ex-wife, Frances McDormand as his mystified girlfriend, George Dzundza as his affable partner and Eliza Dushku as Mr. Franco's apprehensive girlfriend, also an addict. Moviegoers should find the De Niro-Franco pairing a savory meeting of the generations as time goes by. The screenplay would be trimmer and stronger if the denouement followed soon after their long nocturnal conversation on the boardwalk.

• 8 Women (2002) (R: Occasional profanity and sexual candor; frequent allusions to homicide and depravity) **1/2. This semi-musical murder farce isolates four generations of French actresses at a snowbound country estate at Christmas. The unfortunate man of the house is discovered "dead in his bed with a knife in his back." The sometimes grieving suspects consist of daughters Virginie Ledoyen and Ludivine Sagnier, wife Catherine Deneuve, sister Fanny Ardant, sister-in-law Isabelle Huppert, mother-in-law Danielle Darrieux and domestics Emmanuelle Beart and Firmine Richard. All have something to hide and share rancorous confessions and evasions in the aftermath of the dire event. Each suspect also gets a song interlude, sometimes with her fellow suspects as a back-up group. The movie threatens to drift into a state of droll stagnation until saved by a hilarious encounter between Miss Darrieux and Miss Deneuve. As a result, the last-half hour rebounds smartly and accumulates admirable comic momentum. In French with English subtitles. Exclusively at Cinema Arts, Cineplex Odeon Outer Circle and Shirlington and Landmark Bethesda Row.

• The Four Feathers (2002) (PG-13: Episodes of graphic violence in a wartorn historical setting; allusions to torture and racism) *1/2. Indian director Shekhar Kapur seems to be specializing in overwrought revisionism at the expense of English history. Having detected feet of clay among the Tudors in "Elizabeth," he trifles with a vintage adventure yarn about British officers in Egypt and Sudan toward the end of the 19th century. The source material, a 1902 novel by A.E.W. Mason, was filmed by the team of Merian C. Cooper and Ernest B. Schoedsack in 1929, by Zoltan Korda in 1939 and again by Korda in 1955, under the title "Storm Over the Nile." There have also been television versions. Mr. Kapur fails to protect his young leads from looking callow and anachronistic to a fault. As the reluctant warrior Harry Faversham, who tries to atone for fleeting, ill-timed cowardice by disguising himself as a native and saving the lives of his comrades, the oversold Heath Ledger never looks capable of the necessary masquerade. Wes Bentley as Jack Durrance becomes unintentionally funny when his character goes blind in the desert. Back in England, Kate Hudson as their mutual beloved, Ethne, looks just as unready for costume melodrama. The screenwriters add politically correct touches: digressions intended to flatter subsidiary African characters, notably Djimon Hounsou of "Amistad" as a would-be majestic porter-informant who saves Mr. Ledger every so often. He also wears an accusing fifth white feather (a symbol of cowardice) as a head ornament. The desert expeditions and battles are consistently muddled, though sometimes picturesque.

• The Good Girl (2002) (R: Occasional profanity, sexual candor and graphic violence; sustained morbid and despondent undercurrents) *1/2. Jennifer Aniston brings admirable sincerity but dubious professional judgment to the impersonation of a young, ultra-melancholy Texas housewife who drifts into a love affair with an erratic young man (Jake Gyllenhaal), also employed as a clerk at a discount store. Screenwriter Mike White, well cast as a store security guard, and director Miguel Arteta do a lot of condescending to sad hearts at the supermarket while observing this hapless liaison. Married to a house painter played by John C. Reilly, the heroine becomes vulnerable to sexual blackmail from his sidekick (Tim Blake Nelson), who happens to see her stealing a motel date. The filmmakers aren't exactly masters of deadpan pathos and lower middle class social satire, but the cast frequently saves the material from kneejerk rejection.

• Igby Goes Down (2002) (R: Crude language, sexual situations and drug use) ***1/2. First time writer/director Burr Steers tells the darkly comic tale of rich, disillusioned Igby, a teen-ager in a messy search for his identity. Along the way he meets a coterie of dysfunctional, upper class archetypes, played by Jeff Goldblum, Amanda Peet and Claire Danes. Susan Sarandon co-stars as his pill-popping mother. Reviewed by Christian Toto.

•Mad Love (2001) (R: Occasional sexual candor and graphic violence in the context of an historical costume drama; nudity and episodes of simulated intercourse; fleeting but graphic images of a childbirth; morbid illustrative details in scenes of disease and death) **. The Spanish title, "Juana la Loca," is catchier. It alludes to a daughter of Queen Isabella of Castile. The madness results from a marriage that begins in rapture in 1496 but declines into open bitterness and recrimination over a decade. A prisoner of love, Joan bears three children to her consort, an archduke of the Flanders court known as Philip the Handsome (Daniele Liotti, an Italian actor who might be more plausibly described as the Smoldering), before discovering that fidelity is not paramount in his scheme of things. She fumes and rages and acquires a reputation for jealous derangement. Writer-director Vincent Aranda mounts an ominously handsome production and showcases a gorgeous and intense young actress in Pilar Lopez de Ayala. In Spanish with English subtitles. Exclusively at Cineplex Odeon Inner Circle.

• Mostly Martha (2001) (PG-13: Occasional profanity and sexual candor) **. A promising idea for a culinary romantic comedy that falls short of sustained charm and invention, but not disgracefully short. The title character is the somewhat defensive head chef at a fashionable restaurant in Hamburg, Germany; she is inclined to upbraid customers who fail to appreciate her superior taste and skill. The sudden death of a sister leaves her with the care of an 8-year-old niece, Lina (Maxime Foerste), a handful who likes hanging around the restaurant until the wee hours, not exactly conducive to a stable domestic life or regular school hours. The proprietor hires an easygoing and seductive Italian chef, Mario (Sergio Castellitto), to ease the burden on Martha, who is immediately suspicious and resentful of potential job competition. The resolutions to plot and subplot prove strangely inept, but it's difficult to resist the idea that surrogate motherhood and a humorous boyfriend are beneficial influences on this uptight heroine. Written and directed by Sandra Nettelbeck. In German and Italian with English subtitles.

• One Hour Photo (2002) (R: Sustained ominous atmosphere; occasional sexual candor, nudity and violence) .*1/2. Robin Williams' year of being sinister continues with this carefully wrought impression of a pathetic and potentially threatening loner, Sy Parrish, a fixture in the photo department of a vast and eerily impeccable suburban department store called SavMart. Over the years, Sy has cultivated a crush on a particular family, the Yorkins Connie Nielsen as wife Nina, Michael Vartan as husband Will and Dylan Smith as son Jake. Sy's job also puts him in a position to discover that the Yorkin marriage is not as idyllic as he imagined. This disillusionment corresponds with job problems and persuades him to take desperate measures in reprisal. Writer-director Mark Romanek acknowledges the influence of such 1970s prototypes as "The Conversation," "The Tenant" and "Taxi Driver." His stylistic control is sometimes impressive to a fault, since it often looks as if Sy's disintegration is being orchestrated rather heartlessly as a design exercise. Nevertheless, the central performance justifies a modest investment of pity and regret. Audiences should be grateful that the filmmaker invents a clever way of stopping short of bloodbaths.

• Satin Rouge (2001) (No MPAA Rating adult subject matter, with a sustained interlude of simulated intercourse) **1/2. The sexiest Tunisian movie I've ever seen and a reliable distraction for anyone who finds belly dancing a sight for sore eyes. A young writer-director named Raja Amari seems to finesse locale taboos while celebrating the professional and erotic awakening of an attractive, widowed seamstress named Lilia (Hiam Abbass), who discovers a natural affinity for the dance after blundering into a Tunis cabaret. The absurd soft-core payoff is predicated on the coincidence that both Lilia and her teen-age daughter fall for the same seductive bongo player. Something has to give when the three of them finally get in the same place at the same time. Nevertheless, the cabaret highlights compensate for quite a bit of expedient romantic entanglement. In Arabic with English subtitles. Exclusively at Cinema Arts.

• Simone (2002) (PG-13: Occasional profanity and sexual candor) **. A fitfully clever and insinuating satire about the movie business from Andrew Niccol, the transplanted New Zealander who wrote "The Truman Show" and wrote and directed "Gattaca." The premise bears a conspicuous resemblance to Woody Allen's "Hollywood Ending" earlier this summer. Al Pacino is cast as a struggling maverick director, Viktor Taransky, whose new movie is sabotaged by a temperamental leading lady, Winona Ryder. Approached by a dying computer graphics genius, the filmmaker becomes the custodian of a digital animation system supposedly so refined that it can simulate humans with uncanny verisimilitude. A desirable, always cooperative leading lady nicknamed Simone, short for Simulation One, emerges and becomes an absurdly elusive, reclusive sensation as Taransky's new discovery. The Simone hoax is prolonged well beyond any plausible time limit. Neither her appearance (Nordic cosmetics model) nor the vehicles her mentor directs looks foolproof for a mass market. Nevertheless, Mr. Niccol protects his plot to some extent with the rationale that people everywhere prefer to be credulous and idolatrous.

• Skins (2002) (R: Frequent profanity and occasional graphic violence; fleeting vulgarity and clinical details about physical ailments; thematic preoccupation with crime, vice and vigilantism on an Indian reservation) 1/2*. A parochial guilt trip about fraternal conflict and devotion on the Pine Ridge Indian Reservation in South Dakota. Rudy Yellow Lodge, a reservation lawman played by Eric Schweig, turns to vigilante reprisals against young assailants and a liquor franchise while despairing of chronic crime in his birthplace. His own older brother, Mogie, played by Graham Greene, is a terminal alcoholic and civic eyesore. Nevertheless, blood keeps proving thicker than disillusionment, especially after one of the vigilante escapades nearly results in Mogie's death. Exclusively at Landmark Bethesda Row.

• Snipes (2002) (R: Continuous profanity, drug use, sexual situations and violence) **. A young sniper, those workers who plaster inner city neighborhoods with ads for rap albums, learns the seamier side of the record industry. Real life rapper Nelly co-stars as Prolifik, a rising rapper whose upcoming album could make him a superstar, if it ever gets released. Starring Sam Jones III, Dean Winters and Zoe Saldana. Reviewed by Christian Toto.

• Spirited Away (2002) (PG: Fleeting ominous episodes and occasional repulsive and sinister illustrative details) *1/2. The revamped edition of a popular Japanese animated feature about the adventures of a little girl, Chihiro, who blunders into a secret world ruled by sorcery while spending an afternoon with her parents, who take a wrong turn while driving to their new home. Chihiro, initially timid and whiny, must work as a servant in a vast bathhouse for spirits. Her foolish parents are promptly warehoused: they stuff themselves and turn into swine. It's suggested that they will eventually become meals for the monstrous guests. There's a lot of gluttony and revulsion on display as writer-director Hayao Miyazaki embroiders his fable, whose intentions may seem crystal-clear to Japanese but remain opaque and grossly redudant from an American perspective. The two-hour running time grows slightly interminable.

• Sweet Home Alabama (2002) (PG-13: Occasional comic and sexual vulgarity; fleeting and would-be facetious violence) * A romantic comedy about the wacky homecoming of an Alabama girl, played by Reese Witherspoon, who has found success as a fashion designer in New York City. Engaged to Patrick Dempsey, the nice and eligible son of New York's mayor, Candice Bergen, the heroine must take care of a minor detail: a belated divorce from her estranged hometown spouse, Josh Lucas, who prefers to be uncooperative. The pretext couldn't be flimsier, and the rampant stupidities invented to sustain it rival the batch that made Miss Witherspoon a chuckleheaded favorite in "Legally Blonde." New York City replaces Harvard as the heavy. The heroine is a deceitful wretch, but the return to Pigeon Creek, Ala., supposedly confirms her adorability.

• Swimfan (2002) (PG-13: simulated sex, profanity and violence) **. This teen variation on "Fatal Attraction" finds a promising high school swimmer (Jesse Bradford) unable to shake a beautiful stalker ("Traffic's" Erika Christensen). Their one night of passion threatens his swimming career and his relationship with his girlfriend, played by Shiri Appleby. The film takes its time to build suspense without overtly pandering to its young demographic. But disbelief is the order of the day once the stalker takes a murderous turn. Reviewed by Christian Toto.

• Trapped (2002) (R: Systematic depraved context; frequent profanity, graphic violence and lurid sexual connotations; plot revolving around the kidnapping of a child) No stars. One of the more loathsome crime thrillers of the year, the epoch, whatever. However, it becomes a distinctive monstrosity during the finale, which appends so much lunatic chase spectacle to the scumminess that a kind of ghastly-laughable grandeur is achieved. Kevin Bacon, overrating his diabolical side, is the mastermind of a kidnapping ring that includes spouse Courtney Love and cousin Pruitt Taylor Vince. The idea is to divide and conquer when targeting prosperous victims. Mr. Vince takes custody of the abducted children at one locale, Miss Love subjects fathers to lewd intimidation at a second and Mr. Bacon enjoys molesting and terrorizing mothers at a third. The methodology proves defective in the extreme when practiced on Stuart Townsend and Charlize Theron, a Portland, Ore. anesthesiologist and his wife.

•The Tuxedo (2002) (PG: Fleeting comic vulgarity and violence) **. An amusing sorcerer's apprentice pretext that might have been ideal for Jackie Chan but turns out to be maddeningly haphazard, since most of the stunt and chase scenes are photographed in a choppy, blurry fashion. The script seems to have clever ideas to burn; the movie is executed so poorly that it wastes many of them. A cabbie with aspirations, Mr. Chan becomes the chauffeur for Jason Isaacs, an industrialist who also happens to be the equivalent of James Bond. When the master spy is injured in an assassination attempt, the driver assumes his espionage duties, which rely on the phenomenal skills programmed into a magical, high-tech tuxedo. The notion of Mr. Chan suddenly adjusting to superlative acrobatic and combat prowess is enjoyable, and there are amusing support mechanisms apart from the tux: Jennifer Love Hewitt gets her best movie showcase as his sidekick, a government chemist; and Ritchie Coster and Peter Stormare are effectively preposterous as the villains, who hope to contaminate the bottled water industry.


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