- The Washington Times - Wednesday, May 19, 2004


• Coffee and Cigarettes (2004) (R) — A new feature from independent filmmaker Jim Jarmusch, who observes several characters in conversation during a series of comic vignettes augmented by coffee and cigarette consumption. The auspicious cast includes Bill Murray, Cate Blanchett, Steve Buscemi, Alfred Molina, Robert Benigni, Steven Wright, Iggy Pop, Tom Waits and Steve Coogan.

• The Return (2003) (No MPAA Rating: adult subject matter, with occasional profanity, graphic violence and episodes of family conflict) — **. A misanthropic but potentially haunting Russian feature, the grand prize winner at the last Venice Film Festival, that accumulates some allegorical impact while refusing to account for many things. Two brothers are suddenly reunited with their father after an unexplained absence. Sinister and enigmatic, he escorts them on a kind of holiday from hell. Director Andrey Zvyagintsev is portentous rather than lucid. He seems to be implying that the younger generation in Russia must somehow survive a cruel, inexplicable heritage. In Russian with English subtitles.

• Shrek 2 (2004) (PG-13: Occasional comic vulgarity and facetious sexual allusions) — ***. This first sequel to a major hit pretends that success hasn’t spoiled anything. A disingenuous amnesia sets in. The original love story about an ogre, Shrek, and a captive princess, Fiona, illustrated the truism that beauty is more than skin-deep. The new movie attempts to prove it all over again as the newlyweds visit Fiona’s parents in a fairytale version of Beverly Hills and evade a treacherous scheme to alienate bride and groom. The ensemble gets a delightful boost from a vintage character, Puss in Boots, exuberantly dubbed by Antonio Banderas.

• Stateside (2004) (R: Nudity, mild violence, harsh language and sexual matters) — 1/2*. Rachael Leigh Cook of “She’s All That” stars as a schizophrenic actress/rock star who finds love with a forgiving Marine (Jonathan Tucker). It may be based on a true story, but not a hint of humanity grounds this painful romance. The starstruck leads quote bad poetry and try not to act embarrassed, to little avail. Reviewed by Christian Toto.

• Valentin (2003) (PG-13: Occasional profanity and vulgarity; elements of family conflict) — **1/2. An engaging but also presumptuous memoir of a precocious boyhood. The Argentinian writer-director Alejandro Agresti recalls himself as a wistful 9-year-old named Valentin, living in Buenos Aires, circa 1969, with his paternal grandmother and struggling to comprehend the estrangement of his parents. The father, an elusive wretch, turns up in the person of Mr. Agresti himself. The mother is never seen, but a surrogate emerges belatedly with an inadequate message of devotion. The movie is sustained by the appeal of Rodrigo Noya as the perplexed and hopeful boy, by the prowess of Carmen Maura as his crotchety granny and by the loveliness of actress Julieta Cardinali as the young woman Valentin envisions as an ideal foster mom. She’s a sublime choice, all right, but the movie ends up in a dumbfounding state of wishful thinking. In Spanish with English subtitles.


• The Agronomist (2004) (No MPAA Rating — adult subject matter; a documentary feature with occasional profanity and newsreel images of violence) — **. A makeshift but intriguing biographical tribute to the late Jean Dominique, a Haitian broadcaster who ran an independent radio station in Port-au-Prince and was shot to death at his station in April 2000. A political exile in New York in the 1980s and 1990s, Mr. Dominique became a confidant of filmmaker Jonathan Demme, who draws on a backlog of interview material. The movie is framed by the return trip to Port-au-Prince for a funeral service and a memorial broadcast by the subject’s widow, Michele Montas.

• Bobby Jones: Stroke of Genius (2004) (PG: profanity) — **1/2. Stately, reverential biopic about golf legend Bobby Jones (Jim Caviezel). Like a four-star golf club, its grounds are well-manicured. Also like a four-star golf club, it is short on excitement. Directed by Roddy Herrington. Reviewed by Scott Galupo.

• Bon Voyage (2003) (PG-13: mild sexuality; some violence) — ***. The fall of Paris is turned into high farce in Jean-Paul Rappeneau’s World War II adventure, as socialites, scamps and spies high-tail it to a Bordeaux hotel. Starring Gregori Derangere, Isabelle Adjani and Gerard Depardieu. Reviewed by Scott Galupo.

• Breakin’ All the Rules (2004) (PG-13: Sexual situations, crude humor and alcohol use) — **1/2. Jamie Foxx is front and center in this by-the-book romantic comedy that lets the rising comic show his softer side. He plays a magazine writer who pens the ultimate break-up manual after his fiancee leaves him abruptly. He finds romance again in the arms of Nicky (Gabrielle Union), who as movie luck would have it is his pal’s girlfriend. Gross subplots aside, “Rules” offers a few hearty laughs and genuine sparks between Mr. Foxx and Miss Union. Reviewed by Christian Toto.

• Ella Enchanted (2004) (PG: Fleeting comic vulgarity and sexual innuendo) — **. Another facetious, anachronistic romp with fairytale characters and settings. It is far from faithful to the source material, a popular juvenile novel by Gail Carson Levine. The lovely discovery of “The Princess Diaries,” Anne Hathaway, plays the title character, Ella of Frell, a high-minded maiden cursed with a sense of obedience that makes her potential putty in the hands of domineering types. Her romance with a prince (Hugh Dancy) is threatened by this lingering defect, and the movie teems with gauche and chintzy defects of its own. Nevertheless, the young leads generate an appealing sincerity when the director, Tommy O’Haver, can resist being a barrel of yucks. With Cary Elwes as the prince’s villainous uncle and Minnie Driver as the heroine’s bland-voiced aunt, an ineffectual fairy.

• Eternal Sunshine of the Spotless Mind (2004) (R: Occasional profanity and sexual candor) — *1/2. Jim Carrey and Kate Winslet, estranged lovers, have had their memories effaced by a dubious Long Island company, where overnight erasure is inexpertly monitored by a staff that includes Mark Ruffalo, Elijah Wood and Kirsten Dunst, all more amusing than the principals. The second collaboration of screenwriter Charlie Kaufman and director Michel Gondry, this trickily muddled heartbreaker proves a solemn letdown compared to their nutty, unjustly neglected “Human Nature” of 2002.

• Good Bye, Lenin! (2004) (R: Brief full frontal nudity, coarse language) — ***. This delightful German import describes the ultimate love between mother and child. It’s East Berlin, circa 1989, and Alex watches in horror as his mother collapses and falls into a coma during a government protest. Alex’s pro-socialism mother sleeps through the Berlin Wall’s collapse, and when she wakes her doctor warns Alex not to expose her to anything that could shock or upset her. So he takes her home and creates a world within their apartment that recreates the government she once held close to her heart. The film’s frothy mix of humor, drama and political commentary almost always hits the mark. In German with English subtitles. Reviewed by Christian Toto.

• I’m Not Scared (2003) (R: Sustained ominous and morbid emphasis, with occasional graphic violence and profanity; plot revolves around a kidnapped child) — *1/2. A sun-drenched summer landscape in southern Italy is a disarming facade for menace in this repellent Italian import, derived from an acclaimed suspense novel. A 10-year-old boy named Michele, who lives in a small rural community, discovers a concealed bunker near an abandoned villa. It turns out to be the makeshift prison of a kidnapped boy, whom Michele attempts to rescue, unaware that people close to him are implicated in the crime. Director Gabriele Salvatores’ scenic flair is undermined by exceptionally sadistic and hateful material. In Italian with English subtitles.

• Kill Bill Vol. 2 (2004) (R: Bloody violence, sexual content and harsh language) — ***. Quentin Tarantino’s violence-packed ode to his genre influences concludes on a high note as Uma Thurman’s Bride finishes her vengeful journey. This time, the Bride is after her former partners in mayhem, played by Daryl Hannah, Michael Madsen and, of course, David Carradine as Bill. “Vol. 2” slows down the pace with occasionally brilliant results, letting the geeky auteur showcase his love of storytelling, not just stylized violence. Reviewed by Christian Toto.

• Man on Fire (2004) (R: Frequent graphic violence, with gruesome illustrative details; occasional profanity and vulgarity; fleeting sexual candor) — **. Retribution redeems Denzel Washington, a burnt-out government agent, in this newly minted monstrosity, derived from an obscure 1987 melodrama with Scott Glenn. Feverishly pumped up by director Tony Scott and screenwriter Brian Helgeland, it could be the most hypertrophic revenge and/or vigilante thriller ever hallucinated across the screen. Hired to protect the endearing Dakota Fanning, living with well-to-do parents in Mexico City, Mr. Washington fails to prevent her kidnapping but exacts generous reprisals in the aftermath. One emerges with the punch-drunk impression that Hollywood has declared war on Mexico.

• Mean Girls (2004) (PG-13: Occasional profanity, sexual allusions and comic vulgarity in a high school setting) — **. A hit-and-miss update on high school tribal rites from the Lorne Michaels apparatus. Tina Fey of “Saturday Night Live” has a principal role as a math teacher and wrote the screenplay, derived from a sociological treatise. Tim Meadows and Amy Poehler of “SNL” are conspicuous supporting players. The plot is meant to revolve around Lindsay Lohan as a newcomer to an affluent campus in Evanston, Ill., where she is torn between rival factions. The mockery of adolescent snobberies and insecurities is scattershot at best, but the movie has some farcical highlights.

• New York Minute (2004) (PG: Mild sensuality) — *1/2. Mary-Kate and Ashley Olsen try to transplant their television and video fame to the big screen with tepid results. The sisters star as polar opposites who join forces while visiting the Big Apple to duck a truant officer (Eugene Levy) and romance a couple of cute boys (Riley Smith, Jared Padalecki). Young fans might enjoy the high jinks but everyone else will snooze through the forced mayhem and inappropriate costume changes. Reviewed by Christian Toto.

• The Passion of the Christ (2004) (R: Prolonged and graphic violence in a Biblical setting) — **. Mel Gibson places more stock in mortifying the flesh than many of us. Evident as far back as “Mad Max,” this propensity blossomed into a last-act ordeal in his Oscar-winning “Braveheart” in 1995. Now it’s the overwhelming preoccupation and prevailing source of brutal spectacle in “Passion,” Mr. Gibson’s reenactment of the arrest, abuse and crucifixion of Jesus. There’s not a great deal of Gospel authority for dwelling on depictions of physical torture and suffering on the road to Calvary, but the Gibson emphasis may strike a responsive chord in some believers. Caleb Deschanel’s cinematography and the use of ancient languages give the movie its most haunting evocative aspects. In Aramaic and Latin with English subtitles.

• The Saddest Music in the World (2004) (No MPAA Rating: adult subject matter, with occasional profanity, sustained morbid and perverse story elements and occasional sexual candor) — ***. Winnipeg’s own Guy Maddin surpasses himself with this simulated, screwball period piece of the Great Depression. Isabella Rossellini stars as an embittered, domineering, legless brewery heiress who sponsors a worldwide contest to determine the saddest music ever played. Mr. Maddin stages several wacky preliminaries before the American and Serbian contenders meet in the final, which also resolves a pair of absurd love affairs. Exclusively at the Landmark E Street Cinema.

• Shaolin Soccer (2003) (PG-13: action violence) — *1/2. Popular Hong Kong import about a brotherhood of kung fu monks who apply their powers to the game of soccer. Charitably speaking, it’s not quite funny and passably silly. Directed by and starring Stephen Chow. Reviewed by Scott Galupo.

• Since Otar Left (2003) (No MPAA Rating: adult subject matter) — A domestic drama, set in Tbilisi, about three women (an elderly mother, her daughter and granddaughter) waiting in vain for the return of a favorite son who has left to seek work in Western Europe. In Georgian and French with English subtitles. Exclusively at the Landmark Bethesda Row and E Street Cinema. Not reviewed.

• Spring, Summer, Fall, Winter…and Spring (2003) (R) — ***1/2. A Korean feature about a Buddhist monk, who enters a temple constructed on a kind of floating island during his boyhood and returns after misadventures as a lawless young man. A simple, beautiful and profound meditation on sin, moral growth, penance, the cycle of the seasons and the cycle of life, “Spring” embodies the whole of Buddhism by exuding it through every pore. In Korean with English subtitles. Reviewed by Victor Morton.

• Super Size Me (2004) (No MPAA Rating — adult subject matter, with occasional profanity and deliberate pictorial vulgarity in a documentary framework) — ***. An aspiring polemical humorist named Morgan Spurlock spent a month consuming only meals sold at McDonald’s. The results exceed fatty expectations and doctors advise him to knock it off within three weeks. He declines, and the movie suffers when humoring this pointless martyrdom. “Super Size” proves briskly informative when consulting other people who illuminate the subject, from nutritionists to lobbyists, bureaucrats and schoolkids. Mr. Spurlock can cover the waterfront when he resists being grotesquely self-serving.

• 13 Going on 30 (2004) (PG-13: sexual content; brief drug references) — **1/2. An inspired redo of “Big,” with superbabe Jennifer Garner as a 13-year-old who gets her wish to be “30, flirty and thriving.” Miss Garner and character actor Mark Ruffalo bring a likable, fizzy chemistry to this romantic fable. Directed by Gary Winick. Reviewed by Scott Galupo.

• Troy (2004) (R: Occasional graphic violence set against the Trojan War; fleeting nudity and sexual candor) — **. The command decisions that guide this reenactment of the Trojan War, supposedly inspired by the Iliad and contrived to glorify Brad Pitt as Achilles, are wobbly at best. Peter O’Toole’s Priam strangely lacks a Hecuba, or an alarmist daughter named Cassandra. Mr. Pitt’s battlefield prowess looks dubiously overwhelming and Eric Bana lacks a heroic profile as Hector. Much of the casting smacks of kings and queens of the senior prom. Nevertheless, the novelty of it all may prove entertaining, and there’s plenty to snicker at.

• Van Helsing (2004) (PG-13: Frightening imagery, sensuality and violence) — **. Hugh Jackman plays the legendary vampire slayer Van Helsing, who this time around has more than Dracula to worry about. He’s up against Frankenstein’s Monster and the Wolf Man. “The Mummy’s” Stephen Sommers tries to resurrect the old-school monster triumvirate with the help of modern effects but ends up bludgeoning viewers with computerized overkill and deafening action sequences. Reviewed by Christian Toto.

• Word Wars (2004) (No MPAA Rating ? adult subject matter, with occasional profanity, vulgarity, sexual candor and depictions of drug use) — ***. A witty and revealing documentary feature about the professional Scrabble circuit, weaving interviews and portraits around the fortunes of a quartet of prominent players. They are introduced at a Las Vegas tournament in December of 2001 and figure in the national finals at San Diego nine months later. The board play is enhanced by graphics that sometimes flip words into anagrams and keep a tally of every word formed and point scored in the championship match. Exclusively at the American Film Institute Silver Theatre.

• Young Adam (2004) (NC-17: Frequent frontal nudity, sexual situations, coarse language and violence) — **å1/2. Alexander Trocchi’s beat novel comes to life with Ewan McGregor starring as the amoral lead. Mr. McGregor’s Joe is a barge worker who seduces his boss’s wife (Tilda Swinton) but is more concerned about the dead body which he discovered floating near the docks. The grim character portrait is uncompromising in both its sexual frankness and its bleak setting, but we never know enough about our antihero. Reviewed by Christian Toto.MAXIMUM RATING: FOUR STARS

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