Description

The Academy Award winner for Best Original Screenplay, Gosford Park is a whodunit as only director Robert Altman could do it.As a hunting party gathers at the country estate, no one is aware that before the weekend is over, someone will be murdered - twice!The police are baffled but the all-seeing, all-hearing servants know that almost everyone had a motive.
This critically-acclaimed murder mystery features a who's who of celebrated actors.With a diverse cast of characters - all with something to hide - it'll keep you guessing right to the surprising end.Gosford Park proves that murder can be such an inconvenience. ... Read more

Reviews (343)

Not for 14 year old boys?
While taking all those guided tours through cavernous estate houses in England and Ireland (and even a few on the north shore of Long Island), I always wondered what it was like to live that lifestyle. But of course, walking around those still houses doesn't really tell you about the people who lived there anymore than a stage tells you about its actors. However, Gosford Park was a great way to fill in those blanks. The way it pulls you into the world of 1930's English high society and all its pretense and hypocrisy is great. This movie definitely enlivened my understanding of class in old European societies.

The reason Gosford Park has such great insight is the film's screenwriter, Julian Fellows who himself grew up as part of the English aristocracy. Much of what makes this film fun is the idiosyncrasies of its characters and their world that Fellows has personal experience with. A maid and driver stand in the pouring rain until their mistress gets in the car. Servants only refer to each other by their master's name, and they maintain the same hierarchy as their masters so that a duke's servant is treated better by other servants than a baron's. Only married women are allowed to have breakfast in bed; unmarried women must go to the dining room. What a strange world they lived in, especially to someone like me who grew up in a middle class New York neighborhood.

The spine of Gosford Park is, without question, NOT the murder mystery. In fact, the murder mystery plot is about 5% of the movie-if that. It's what's known in film lingo as a McGuffin, a device that helps propel the plot in a story but is of little importance in itself. If a viewer turns to the murder mystery plot for what this movie is all about, they will most likely be sorely disappointed, seemingly like many of the negative reviewers here were.

The key to enjoying this movie is to think about what it's like to live in a society that is extremely oriented by class. What must it take to keep it going? As I alluded earlier, pretense and hypocrisy grease the gears of high society. From scene to scene, we peep around corners and into bedrooms to see characters trying to hide one secret or another. And in the end, we see the unpleasant consequences of this duplicity.

This is definitely not a film that lays out its purpose before the audience. Since the almost 60 characters (for a chuckle, look under product details above for the colossal cast list) each add something unique to the larger picture, and since the audience is usually only told something once, you definitely have to be your own detective. However, Julian Fellows does a brilliant job interweaving these characters into a solid whole, and he definitely deserves the Oscar he received for the screenplay.

Since this is a complex and subtle film, multiple viewings are helpful, but unlike some other reviewers, this is something I really enjoyed. Like a good album, each time with it reveals another layer and increases your appreciation. Robert Altman, the director, says in his DVD commentary (which was boring except for a few insights, but Julian Fellow's commentary was excellent) that the film is "like looking in through the windows of a house, you only get part of the picture at a time." I think this analogy fits nicely, especially since the film is set in a house. Altman also acknowledges what some of the negative reviewers complain about, saying he meant the audience to be left wondering after the first viewing. He didn't intend this movie for the "wham, bam, thank you ma'am" set. In fact, Altman went out of his way to insert curse words, guaranteeing an R rating so that "14 year old boys couldn't walk off the street and watch it."

And of course, last but not least, the acting was great. Gosford Park has an excellent ensemble cast with not a single weak link. Maggie Smith as the snobbish Aunt makes you smile; Kelly MacDonald as the Aunt's young, innocent maid makes you want to give her a big wet kiss (maybe that's just me); and Clive Owen's cool restraint as a mysterious footman keeps you following him around the screen.

All through, Gosford Park is a movie very well done.

Buy this DVD and watch it again and again....
because you miss most of the film the first time around!

On the surface this appears to be a very formulistic murder mystery. It has the classic setting, 1930's period, an isolated English manor house filled with guests for a weekend shooting party, and all of the servants both resident and visiting. Everybody has secrets, the tension is so thick it could be cut with a knife and there is conveniently one missing from the kitchen. For more than half the film we see motives offered and wait for the murder and yet after it occurs it becomes evident that this is NOT a murder mystery at all!

The film has been compared to Upstairs Downstairs and it does involve the lives of those both above and below stairs, but it is much more than that. The various stories are added layer by layer some, such as the imposter in the servants' hall are obvious while others like the secret abortion are only alluded in a couple of lines. The various stories are, while interesting, not really the point of the film either. This is a beautifully drawn portrait of a way of life that is long gone and will probably never return. Almost everyone has read about or seen depictions of English Country Life in the '20's and '30's. It is a setting that has been used in drama, comedy, romance and of course mystery genres for years but Gosford Park makes it clear that we have only the faintest ideas of what that life was really like. The genius of this film is that it takes all the information that could have been spread out in a PBS documentary series and used fiction to illustrate the same points in a much more effective and enjoyable way.

The cast is huge and filled with actors, both well known and soon to be well known. No one is given such a large role that it becomes their film and yet each performer manages to turn their scenes into a polished little gem.

The extras included in the DVD are wonderful. They include deleted scenes (with commentary), features on the making of, and authenticity of the movies as well as Q & A with cast and filmakers. The best of the extras by far are the commentaries with the director, Robert Altman and screenwriter, Julian Oscar.

I highly recommend the purchase (as opposed to the renting) of this film. It is so packed with detail that it would be impossible to absorb it all in just one or two viewings.

"Nothing's more exhausting than breaking in a lady's maid."
The upperclass friends and relations of Sir William McCordle (Michael Gambon) arrive at his country house for a weekend of shooting, accompanied by maids, footmen, and valets, all of whom will be staying under one roof. Sir William is a mean-spirited and self-centered old man, married to a much younger, emotionally distant wife (Kristin Scott Thomas), with many family members dependent upon his continuing largesse. The hilariously waspish Countess of Trentham (Maggie Smith), who believes she has a lifetime stipend, arrives with young Mary Maceachran (Kelly MacDonald), who is trying valiantly to become a good lady's maid. Ivor Novello (Jeremy Northam), a Hollywood star, and Morris Weissman (Bob Balaban), a producer of Charlie Chan movies, are the only guests without aristocratic backgrounds and inherited privilege. The atmosphere of the house, filled with venomous "friends" and relations, soon becomes even more poisonous.

The "below stairs" lives of the servants are also fully revealed, as they share living quarters, eat meals together, tend to the laundry and cooking, and gossip about their employers. The butler Jennings (Alan Bates) and the head housekeeper (Helen Mirren) run the household and try to guarantee that no real-world cares will intrude upon the lives of their employers. Since "upstairs" and "downstairs" occasionally meet very privately at night, secrets abound, many of them secrets of long standing. When Sir William is poisoned and stabbed ("Trust Sir William to be murdered twice"), nearly everyone has a motive for wanting him dead.

For director Robert Altman, the primary focus of the film is on the characters, their way of life, and their values, with the murder mystery secondary. Set in late November, the end of the year 1932, the action takes place when this secure aristocratic lifestyle is also nearing its end, something that the arrival of the newly rich Hollywood characters, Novello and Weissman, illustrates. Dramatic cinematography (by Andrew Dunn) emphasizes the cold and rainy dreariness of the weekend, and suggests parallels with the coldness of the dying aristocracy.

Interior shots reveal the contrasts between the elegant and mannered lives of the "upstairs" characters and the hardworking daily lives of the "downstairs" characters, who adhere to their own rigid social codes. Every detail rings true, and as the characters' lives and interrelationships are revealed obliquely in brief snippets of seemingly unrelated conversations, a broad picture of the upstairs and downstairs lifestyles gradually emerges. Fully developed, many-leveled, wonderfully acted, often funny, and impeccably directed and filmed, this is a film one can watch again and again with delight. Mary Whipple

The Triumph of the Tried and True... a la Robert Altman!
GOSFORD PARK is an enchanting movie on every level and should please even the most discerning audience. Quite unexpectedly, Robert Altman has thoroughly researched the Agatha Christie murder mystery-type stories, the archetypical British mystery/drawing room genre, and (more important) the stuffy and unbelievable class disparities of olde England and has produced a stylish, smart, lushly beautiful recreation of England in the 1930s. The settings are elegant - a mansion/castle where the 'haves' and their lowly servants carry on their lives as though 'to the manner born'. Blessed with a dream cast that includes nearly all of the greats of the British acting school, Altman has given plumb roles to Maggie Smith, Helen Mirren, Eileen Atkins, Emily Watson, Kristin Scott Thomas, Stephen Fry, Michael Gambon, Jeremy Northam, James Wilby, Alan Bates, and Derek Jacobi. The story is an interesting murder mystery but it merely serves as the matrix upon which these fine actors, writer, cinematographer and director capably flaunt their skills. This movie is Delicious! It is so fine that it bears repeated viewings just to make sure you catch all the innuendoes and rapid, superb double entendres encased in this bit of magic. Altman devotees will not be disappointed and those who are not fond of the eccentric director's previous films are bound to be won over to the genius of Robert Altman.

Upstairs, downstairs, cold stares
No matter how many actors, including bankable stars, appear in a Robert Altman movie, it seems to be about Altman. He has an individual, if by now familiar, style of filmmaking that is always calling attention to itself. That style includes very fluid camera movement, quick-cut editing, and a good deal of dialogue that is covered by other dialogue or sounds distant. We are meant to be awed by the spontaneity and naturalism of it all.

Apparently many people are impressed by this mannerism and consider it a sign of artistry. On the whole, I find it pretentious and irritating. In one of the supplementary features on the DVD, Altman, his screenwriter and a handful of the actors from Gosford Park are interviewed in front of a studio audience. Altman and the writer rattle on about how every scene is shot by two cameras that are always in motion, so that the actors are never sure whether they are going to be foreground or atmosphere, or what angle they'll be seen from. Does Altman really think he invented the idea of shooting a scene from multiple angles, and choosing one during editing? And why is a camera that's gliding and panning constantly somehow more "truthful" than one that's framing the character or group that the director believes is most essential to telling the story at that moment?

It can be said in Altman's favor, though, that he never makes a merely conventional or routine film; they are all a bit eccentric (a compliment in my book) and, despite my reservations about the camera and sound-recording style, usually offer a fresh view of the theme or its environment. Gosford Park is your standard Agatha Christie-style murder mystery set among a dinner-jacketed, evening-gowned crowd in an English manor house in 1932 -- except, in this case, the doings of the upper crust are set against the army of servants below stairs who work their tails off to make everything straight, gleaming and smooth for their social betters.

Altman and his screenwriter Julian Fellows do a very creditable and humane job of conveying the personalities and individuality of the servants; they aren't just symbols of The Oppressed. The characters of the gentry, though, while ably portrayed (the acting talent makes sure of that), are almost universally so sour, rude and calculating that it's hard not to feel that there's a touch of old-fashioned, left-wing agit-prop involved. (The one exception is Jeremy Northam, who plays Ivor Novello -- a real singer and film star of the period -- with considerable charm.) I can believe that an assembly of English bluebloods in that era might have carried within themselves much wickedness, but they would have been far too polished to display it as openly and crudely as they do in Gosford Park.

Altman recruited a clutch of A-list British stage and film actors, and they don't fail him. Altman's casual attitude toward the basics of craftsmanship (as opposed to displaying his self-assumed creative genius) ensures that you will be lucky to figure out who half the characters are and their relationships with one another by the time of the denouement, but their cultivated swinishness holds the attention anyway. I think actors love playing obnoxious and unlikeable characters; these seem to be enjoying their roles, and you will, too.

The English have a term, "curate's egg." The meaning is, "parts of it are very good." ... Read more

Amazon.com

Sweetness that doesn't turn saccharine is hard to find these days; Finding Neverland hits the mark. Much credit is due to the actors: Johnny Depp applies his genius for sly whimsy in his portrayal of playwright J. M. Barrie, who finds inspiration for his greatest creation from four lively boys, the sons of widow Sylvia Llewelyn Davies (Kate Winslet, who miraculously fuses romantic yearning with common sense). Though the friendship threatens his already dwindling marriage, Barrie spends endless hours with the boys, pretending to be pirates or Indians--and gradually the elements of Peter Pan take shape in his mind. The relationship between Barrie and the Llewelyn Davies family sparks both an imagined world and a quiet rebellion against the stuffy forces of respectability, given physical form by Barrie's resentful wife (Radha Mitchell, High Art) and Sylvia's mother (Julie Christie, McCabe and Mrs. Miller). This gentle silliness could have turned to treacle, but Depp and Winslet--along with newcomer Freddie Highmore as one of the boys--keep their feet on the earth while their eyes gaze into their dreams. Also featuring a comically crusty turn from Dustin Hoffman (who appeared in another Peter Pan-themed movie, Hook) as a long-suffering theater producer. --Bret Fetzer ... Read more

Reviews (245)

A very beautiful movie.
I agree with T burger.I did do some research after watching this & the main point of the movie is the same.He created this world after meeting & falling in love with those boys.If they made every movie that's based on fact word for word they would probably be boring.They're usually loosely based & meant more to entertain than to inform.I loved it.Story, great, sets, great.Johnny Depp Double great.

wow...
This movie is truly captivating. I am a sucker for fantasy-sort and movies packed with lots of imaginiation. I guess its the kid coming out of me. (which doesn't often go away)
This movie really does make you go back and remember all your dreams as a little child. Wishing you could fly, dreaming of far off places, magic, fantasy lands, and so on.
The reason for this movie is to take a look at how Peter Pan related to its author and his life. It is really interesting to see the parallels between the movie and the events and people he had in his life. I highly recommend it. Its touching and captivating.

Handsome-looking, sentimental tripe
Marc Forster's FINDING NEVERLAND isn't a bad movie, I suppose. In its depiction of playwright J.M. Barrie's creation of the classic PETER PAN, it has its occasional moments of real wide-eyed wonder (mostly during re-enactments of moments in the actual play), and it has generally fine performances from its cast---not even the prestige-pic atmosphere of this movie can keep the wide-ranging actor Johnny Depp down. And, of course, the movie looks sumptuous and handsome (which counts for something in my book).

But FINDING NEVERLAND is yet another example of the kind of sentimental, non-threatening tripe that Hollywood has a tendency to produce and foist upon the masses during Oscar season. This particular Oscar-bait picture has as its mantra "Just believe," but the movie rarely ever elicits the same sense of innocent wonder that this film's Barrie clearly believes in. (Its brief "fantasy" sequences---which includes Barrie dancing with a dog, or Barrie playing a pirate with a widower's kids---are too cheesily done to make us believe in anything.) Nor does it have much of a sharp edge to its potentially disturbing depiction of a writer's sudden fixation on the widower's kids; his attraction to the innocence of these kids---at least, in most of the kids; one of them, played by Freddie Highmore, still carries the pain and anger of loss with him---is depicted (and romanticized) by Forster and screenwriter David Magee as mostly pure and rather beautiful. (Yea right; so is Michael Jackson's, too?) By smoothing away almost all of the rough edges, by manipulating events to fit its banal message, by toning down Johnny Depp's usual actorly exuberance, Marc Forster comes up with a film that, for all its impressive production values, is never very intellectually stimulating. It's insufferably pleasant rather than challenging. Is it deeply moving? For me, not really; when Forster finally unveils his visual depiction of Neverland towards the end, it is mawkish rather than transporting; so is its final scene, in which Barrie tells disillusioned young Peter Davies to "just believe" that his relatives still live on.

Look, it's a nice idea, to be able to hold on to your child-like innocence and all that. But, just because you become an adult, that doesn't mean you have to lose your imagination or sense of child-like wonder. (That's one of the things movies can do best---but not this movie.) But it's hardly a good idea either to be as child-like as this film's Barrie is; in this difficult world, you'd never survive if your only purpose in life was to remain an innocent child throughout, the way Barrie tries to be. Growing up is something everybody has to do; it's something FINDING NEVERLAND apparently doesn't believe in. It's better to remain a naive kid rather than live in the real world. And of course this potentially dangerous philosophy gets applause from gullible viewers who find the movie "enchanting": it's a fantasy that appeals to them, which is precisely why I think the film is intellectually empty. Sorry if that sounds terribly cynical, but that personal reaction to the film's message is the only way I can explain why there was only one scene in the movie that genuinely moved me: a scene in which an angry Peter Davies shouts out to Barrie, "I will not be lied to." It's the only scene with any real dramatic weight to it, because it is the closest the movie comes to challenging its own sentimental, simple-minded "just believe" philosophy. Peter has glimpsed the cold, hard reality of death, and is trying to deal with it in his own way; this film's Barrie, instead, would probably try to tell himself that no one ever really dies, as long as his/her memory is kept alive. Again, a comforting notion; but it can be plain delusional to deny the harsh reality of death.

FINDING NEVERLAND is well-made enough that it's worth the 3 stars I'm granting it here. The movie probably makes worthy family entertainment; there's nothing all that offensive for parents to get too worried about. But if you're expecting something truly insightful or deeply moving from this trite Hollywood prestige pic, you might be disappointed. For all of its adult pretensions, FINDING NEVERLAND is, at heart, as childish as its real-life hero.

Neverland not the place to be
Johnny Depp put in a good performance in this movie. And that's the problem. I expect an actor of his caliber to show me something on the screen that will blow me away every single time. (Sorry about that,but Johnny has spoiled me). Instead what I saw was an actor reigned in. Did the money-mafia intercede somewhere along the line and say "no funny stuff..we're going for main stream here. Think Oscar."Kate Winslet just was not credible in the role of a woman dying of a progressive, wasting disease.Really?!When Barrie finally reveals Neverland to her, supposedly on the eve of her death, she looks like nothing but the beautiful English girl that she is. As fresh and as robust as the proverbial milkmaid. As for Julie Christie and Dustin Hoffman...what about them? Their parts could of been played by actors of lesser talent and the final product would not have suffered for it . This is not the worst movie ever made but it's got to be the worst misuse of acting talent in recent history. Finding Neverland is a medicore commercial product. The invitation implied gourmet but on arrival I got fast food. And I really, reallywanted to LIKE this movie.

An amazing movie, never mind the background...
Although I understand that J. M. Barrie was not perfect, there is no reason to relate him to the "Michael Jackson" scandal. It might be true that he *was* a pedophile, but in this movie, nothing of the sort was shown. The movie is *based* upon events that happened in the past, but is not a documentary of any sort or kind, and therefore cannot be deemed untruthful. Since the movie is not a historical film, nor does it portray any sort of pedophilia, it is unjust to give this movie a bad review for the past events.

Depp came across as a truly kind being who became very close with a family, and especially with that family's kids. He enjoyed being around them because maybe he felt that they needed a father figure, or maybe that he saw himself in the children and just wanted to have fun with them because he had no children of his own. Depp played Barrie in a manner which might have not been accurate, but his performance was amazing.

Winslet, who as well gives a rather good performance, fits with Depp like pieces of a puzzle, and the dynamics between Depp and the boys are amazing in all scenarios.

Overall, this was a stunning movie, and never you mind the reviews that say that this film was boring or stupid. This brings out emotion in almost everyone, from kids to seniors, and the only people who don't find it interesting are those who dislike a movie that actually has a good plot/doesn't have "action"/actually has in-depth characters.

I HIGHLY HIGHLY RECCOMEND THAT YOU PUT THIS ON THE TOP OF YOUR LIST TO RENT OR BUY. I GUARANTEE THAT IF YOU WATCH IT ONCE, JUST ONCE, YOU WILL FALL IN LOVE WITH IT IMMEDIATELY. ... Read more

Reviews (206)

One of my all time favorite movies
I fell in love with this movie the first time I saw it and I have watched it many times since.

Its a fast-paced funny, sad, moving picture. Its a great slice-of-life view of junkies in Edinburgh. The characters are all fantastic and almost all endearing.

The soundtrack was top-notch - check out the two CDs it spawned.

The original book is an excellent read as well. The movie was largely true to the book however there were a number of events that took place in the book that the movie didn't show. Reading the book clarifies a few of the things that happen in the film - for example there is a scene in the movie where Spud does some amphetamine before going to a job interview. I was unsure of his motivation (other than getting high) in the movie but in the book it was clear that he did the speed so that it would look like he was eager for the job, but wouldn't get it - so he could continue to receive his unemployment compensation from the government.

I recommended this movie highly to my parents and they didn't like it. They found it to be quite sad and depressing, which I suppose I understand, but was not something I personally felt about it.

Painful, scary, graphic, and just plain brilliant
Movies SHOULD make you think, and boy does this film do that! "Trainspotting," an uncompromising look into the lives of heroin addicts, is not for those with weak stomachs, or weak minds for that matter. Is it anti-drug or pro-drug? I don't know, but it sure turned me off from ever trying heroin.
Ewan McGregor's breakthrough role as Renton made him a star. In this film, he is the dirtiest, skinniest, and most unattractive I have ever seen him. But he's very good anyway. He plays a young man with no ideals (until later) except having a good hit. It's disturbing to watch what happens as he struggles to stay clean.
This is not a pretty picture. This movie is sad, disgusting, and doesn't allow for sympathy for any characters except Renton only occasionally. But it's engrossing. You might be so appauled by what you see that you keep watching. You might know someone who is a drug addict who struggles like these guys do and feel what they're going through in some fashion. Or you might turn away from drugs altogether once you see the extreme of consequences.
Warning: You may hate this movie. You may be offended. If you are, I won't think less of you. But remember, America does have a drug culture too, and there are people like Renton and Sick Boy (my God, and even Begby) present in our society. Sometimes movies show us things about ourselves that we don't want to see. It's one of the most difficult cinematic tasks, but I think this movie pulls it off.

Love it
I love this. At first it's shocking, and yes a little difficult to understand but concentrate for a little while and you'll pick it up, it is in English afterall. I've also read the book (absolutely amazing) and I have to say that I think the adaptation was done really well considering the length and depth of the story line and all the characters.

Now just a correction... this film is set in SCOTLAND not Ireland... as it states that Renton goes into "the worst bathroom in SCOTLAND" not to mention the references to Scottish cities and of course Renton's tirade about how horrible it is to be Scottish.... but i suppose if some people weren't so busy reading the subtitles they might have actually gotten the chance to watch the film....

But seriously it is definitely worth seeing, it's dark, funny, raw and very NOT hollywood infested.. :o)

Love this Movie
Trainspotting as you know stands for Heroine. With that said, the movie is about a group of young people are are hooked on it and the things that happen to them.

The movie is set in Ireland- you may have a hard time in the beginning understanding the heavy accents, so put you captions on, but after awhile things get better.

The movie talks about some very controversial topics: HIV, drugs, and overdosing. It would even be a good educational movie for youth to look it because the movie really takes you inside the mind and body of someone hooked on the drug.

And the music is spectacular. I would recommend you buying the CD soundtrack- just awesome.

Rent the movie and if you like buy it. This is an independent international movie.

OK but not great by any measure
This is a well-executed film with lots of great images, especially using the dead baby. But it's pretty flashy in a TV commercial or music video way & after a while I found the gimmicks wearing thin. I've read a lot of excellent junky lit over the years - one in particular that stands out is Trocchi's brilliant Cain's Book from the 1960s (another Scots junkie, yet). Trainspotting isn't bad, but like My Private Idaho & the film version of Fight Club, it's a pretty superficial demographic concession to the suburban live-life-as-proxy mentality that has become the prime target of mainstream films the last few years. ... Read more

Amazon.com

Sweetness that doesn't turn saccharine is hard to find these days; Finding Neverland hits the mark. Much credit is due to the actors: Johnny Depp applies his genius for sly whimsy in his portrayal of playwright J. M. Barrie, who finds inspiration for his greatest creation from four lively boys, the sons of widow Sylvia Llewelyn Davies (Kate Winslet, who miraculously fuses romantic yearning with common sense). Though the friendship threatens his already dwindling marriage, Barrie spends endless hours with the boys, pretending to be pirates or Indians--and gradually the elements of Peter Pan take shape in his mind. The relationship between Barrie and the Llewelyn Davies family sparks both an imagined world and a quiet rebellion against the stuffy forces of respectability, given physical form by Barrie's resentful wife (Radha Mitchell, High Art) and Sylvia's mother (Julie Christie, McCabe and Mrs. Miller). This gentle silliness could have turned to treacle, but Depp and Winslet--along with newcomer Freddie Highmore as one of the boys--keep their feet on the earth while their eyes gaze into their dreams. Also featuring a comically crusty turn from Dustin Hoffman (who appeared in another Peter Pan-themed movie, Hook) as a long-suffering theater producer. --Bret Fetzer ... Read more

Reviews (245)

A very beautiful movie.
I agree with T burger.I did do some research after watching this & the main point of the movie is the same.He created this world after meeting & falling in love with those boys.If they made every movie that's based on fact word for word they would probably be boring.They're usually loosely based & meant more to entertain than to inform.I loved it.Story, great, sets, great.Johnny Depp Double great.

wow...
This movie is truly captivating. I am a sucker for fantasy-sort and movies packed with lots of imaginiation. I guess its the kid coming out of me. (which doesn't often go away)
This movie really does make you go back and remember all your dreams as a little child. Wishing you could fly, dreaming of far off places, magic, fantasy lands, and so on.
The reason for this movie is to take a look at how Peter Pan related to its author and his life. It is really interesting to see the parallels between the movie and the events and people he had in his life. I highly recommend it. Its touching and captivating.

Handsome-looking, sentimental tripe
Marc Forster's FINDING NEVERLAND isn't a bad movie, I suppose. In its depiction of playwright J.M. Barrie's creation of the classic PETER PAN, it has its occasional moments of real wide-eyed wonder (mostly during re-enactments of moments in the actual play), and it has generally fine performances from its cast---not even the prestige-pic atmosphere of this movie can keep the wide-ranging actor Johnny Depp down. And, of course, the movie looks sumptuous and handsome (which counts for something in my book).

But FINDING NEVERLAND is yet another example of the kind of sentimental, non-threatening tripe that Hollywood has a tendency to produce and foist upon the masses during Oscar season. This particular Oscar-bait picture has as its mantra "Just believe," but the movie rarely ever elicits the same sense of innocent wonder that this film's Barrie clearly believes in. (Its brief "fantasy" sequences---which includes Barrie dancing with a dog, or Barrie playing a pirate with a widower's kids---are too cheesily done to make us believe in anything.) Nor does it have much of a sharp edge to its potentially disturbing depiction of a writer's sudden fixation on the widower's kids; his attraction to the innocence of these kids---at least, in most of the kids; one of them, played by Freddie Highmore, still carries the pain and anger of loss with him---is depicted (and romanticized) by Forster and screenwriter David Magee as mostly pure and rather beautiful. (Yea right; so is Michael Jackson's, too?) By smoothing away almost all of the rough edges, by manipulating events to fit its banal message, by toning down Johnny Depp's usual actorly exuberance, Marc Forster comes up with a film that, for all its impressive production values, is never very intellectually stimulating. It's insufferably pleasant rather than challenging. Is it deeply moving? For me, not really; when Forster finally unveils his visual depiction of Neverland towards the end, it is mawkish rather than transporting; so is its final scene, in which Barrie tells disillusioned young Peter Davies to "just believe" that his relatives still live on.

Look, it's a nice idea, to be able to hold on to your child-like innocence and all that. But, just because you become an adult, that doesn't mean you have to lose your imagination or sense of child-like wonder. (That's one of the things movies can do best---but not this movie.) But it's hardly a good idea either to be as child-like as this film's Barrie is; in this difficult world, you'd never survive if your only purpose in life was to remain an innocent child throughout, the way Barrie tries to be. Growing up is something everybody has to do; it's something FINDING NEVERLAND apparently doesn't believe in. It's better to remain a naive kid rather than live in the real world. And of course this potentially dangerous philosophy gets applause from gullible viewers who find the movie "enchanting": it's a fantasy that appeals to them, which is precisely why I think the film is intellectually empty. Sorry if that sounds terribly cynical, but that personal reaction to the film's message is the only way I can explain why there was only one scene in the movie that genuinely moved me: a scene in which an angry Peter Davies shouts out to Barrie, "I will not be lied to." It's the only scene with any real dramatic weight to it, because it is the closest the movie comes to challenging its own sentimental, simple-minded "just believe" philosophy. Peter has glimpsed the cold, hard reality of death, and is trying to deal with it in his own way; this film's Barrie, instead, would probably try to tell himself that no one ever really dies, as long as his/her memory is kept alive. Again, a comforting notion; but it can be plain delusional to deny the harsh reality of death.

FINDING NEVERLAND is well-made enough that it's worth the 3 stars I'm granting it here. The movie probably makes worthy family entertainment; there's nothing all that offensive for parents to get too worried about. But if you're expecting something truly insightful or deeply moving from this trite Hollywood prestige pic, you might be disappointed. For all of its adult pretensions, FINDING NEVERLAND is, at heart, as childish as its real-life hero.

Neverland not the place to be
Johnny Depp put in a good performance in this movie. And that's the problem. I expect an actor of his caliber to show me something on the screen that will blow me away every single time. (Sorry about that,but Johnny has spoiled me). Instead what I saw was an actor reigned in. Did the money-mafia intercede somewhere along the line and say "no funny stuff..we're going for main stream here. Think Oscar."Kate Winslet just was not credible in the role of a woman dying of a progressive, wasting disease.Really?!When Barrie finally reveals Neverland to her, supposedly on the eve of her death, she looks like nothing but the beautiful English girl that she is. As fresh and as robust as the proverbial milkmaid. As for Julie Christie and Dustin Hoffman...what about them? Their parts could of been played by actors of lesser talent and the final product would not have suffered for it . This is not the worst movie ever made but it's got to be the worst misuse of acting talent in recent history. Finding Neverland is a medicore commercial product. The invitation implied gourmet but on arrival I got fast food. And I really, reallywanted to LIKE this movie.

An amazing movie, never mind the background...
Although I understand that J. M. Barrie was not perfect, there is no reason to relate him to the "Michael Jackson" scandal. It might be true that he *was* a pedophile, but in this movie, nothing of the sort was shown. The movie is *based* upon events that happened in the past, but is not a documentary of any sort or kind, and therefore cannot be deemed untruthful. Since the movie is not a historical film, nor does it portray any sort of pedophilia, it is unjust to give this movie a bad review for the past events.

Depp came across as a truly kind being who became very close with a family, and especially with that family's kids. He enjoyed being around them because maybe he felt that they needed a father figure, or maybe that he saw himself in the children and just wanted to have fun with them because he had no children of his own. Depp played Barrie in a manner which might have not been accurate, but his performance was amazing.

Winslet, who as well gives a rather good performance, fits with Depp like pieces of a puzzle, and the dynamics between Depp and the boys are amazing in all scenarios.

Overall, this was a stunning movie, and never you mind the reviews that say that this film was boring or stupid. This brings out emotion in almost everyone, from kids to seniors, and the only people who don't find it interesting are those who dislike a movie that actually has a good plot/doesn't have "action"/actually has in-depth characters.

I HIGHLY HIGHLY RECCOMEND THAT YOU PUT THIS ON THE TOP OF YOUR LIST TO RENT OR BUY. I GUARANTEE THAT IF YOU WATCH IT ONCE, JUST ONCE, YOU WILL FALL IN LOVE WITH IT IMMEDIATELY. ... Read more

Amazon.com

The rough-edged vitality of contemporary Irish filmmaking is readily apparent in Intermission, a deliriously ambitious black comedy in which 54 characters and 11 plotlines compete for consistently impressive screen-time. In a dazzling display of audacity, screenwriter Mark O'Rowe and first-time director John Crowley jump from one plot to another, tangling their characters in an infectious series of intersecting events, shifting from scenes of brutal violence, poignant compassion, and richly dark humor, and somehow managing to make it all fit together in a miraculously coherent tapestry of romance, crime, and authentic Dublin atmosphere. Colin Farrell and Star Trek: Deep Space Nine alumnus Colm Meaney are the familiar stars here, and they're in peak form on native soil, but the entire cast shines in equal measure, all of them playing malcontents striving for something better in a world that's simultaneously harsh and hilarious. From start to finish, Intermission is so full of surprises that you'll want to see it twice, just to marvel at the way its puzzle fits together. --Jeff Shannon ... Read more

Reviews (3)

11 real-life, intertwined stories
I've read elsewhere about people complaining of Intermission's "juvenile humor" and, yeah, there's certainly a fair bit of that. But that's overcome by the realness with which writer Mark O'Rowe and Director John Crowley have imbued these 11 intertwined stories that have been crashed together for a very enjoyable ride.

Performances of note:

Kelly Macdonald - I just finished being enchanted by her in the six-part BBC mini 'State of Play'. Adorable and talented (when I'm not perplexed by that Glaswegian accent).

Colin Ferrell - Turns on a dime in the film's opening shot; it's a stunner and it sets the pace for the entire movie. His riff on 'brown sauce in coffee' (see the movie to understand!) had me laughing for days (not an exaggeration)

Colm Meaney - Yet another film he walks away with. His self-conscious portrayal of street detective Jerry Lynch is a perfect mix of braggadocio, insecurity and (unknowing) humor. The little scene where 'Lynch' overturns a table in anger - but checks to see who's watching first - is a wonderful little touch by Meaney.

Cillian Murphy - Mesmerizing eyes. And the spoke that turns at least three of these stories.

...and many, many others (Shirley Henderson, for example, deserves some kudos too for a *very* unglamorous role).

Make sure you stick around for the credits to hear Colin Ferrell's raucous rendition of "I Fought the Law."

Stunned & confused
This film is a small Irish story but so complex & filled with such brilliant characters, it should appeal to anyone with a bright mind. Colin Farrell, the most well-known actor in this film, plays a criminal who wants to settle down & buy lovely kitchen utilities. There's a couple just broken up who keep running into each other; the guy love-sick, the girl sick of love. The unattractive but sweet fellow who gets into it with a furious, ditched wife but ends up happy. The oddly funny cop who wishes for Fame but commits infamy. We both LOVED this movie & will buy it as soon as it's available.

Green Power
Colin Farrell (Lehiff) sheds the outward patina of glamour and the unnatural adoption of an American accent, in this edgy dramedy, directed by John Crowley with an eager and roving eye: aimed at capturing the stuff that makes us human and susceptible to folly.
In fact, except for about 2 minutes in "Phone Booth," Farrell has never been more human, likable and sexy since his debut in "Tigerland."
But "Intermission" is an ensemble piece peopled with actors (particularly Shirley Henderson) who continually seem about to fall yet somehow always avoid the big cesspool of doom and destruction. And this is what gives "Intermission" its propulsion and interest: we like these people and care about what they care about and more importantly, we want them to be happy. In tone this film reminds me very much of the much neglected, "Happy Accidents" another absurd comedy-drama directed by Brad Anderson.
Mark Rowe has written a script of such fierce disrespect towards everything and John Crowley directs with his tongue so resolutely and firmly planted in his cheek that "Intermission" turns out to be one of the most refreshingly astringent and invigorating movies...ever. ... Read more

Amazon.com

If pretty pictures and sweet intentions were enough to generate aclassicfamily film, My Life So Far would rival How Green Was My Valley and George Cukor's LittleWomen.But those movies have strength and an acute sense of loss along withthe sweetness and light, while--despite a death or two and the teasingprospect of adultery--My Life So Far doesn't really engage anything thatwould disrupt its rosy childhood memoir.

First-person narrator Fraser Pettigrew (Robert Norman) is age 10 in 1920, amoment when it seems that the charmed life of Kiloran, the rambling Scottishestate he shares with several generations of his relentlessly quaint family,will go on forever.Even a stray shellshock casualty from the Great War--a sub-Dickensian bogeyman who haunts the grounds--is treated as a picturesque bit of local color.The family is what counts: would-be inventor ColinFirth, eccentric paterfamilias and sphagnum moss farmer; his wife MaryElizabeth Mastrantonio, who traded an opera career for multiple maternity;crusty uncle Malcolm McDowell, who hopes to inherit Kiloran from matriarchRosemary Harris and evict everybody; and Irène Jacob, the beauteous youngFrenchwoman to whom the uncle is engaged and over whom everyone else goesgaga.Not to mention a gaggle of precocious siblings, colorful servants, andoddball interlopers.

This is all very slight, but amiable--sort of a Miramax dry run for The CiderHouse Rules without the darkness or the novelistic vision. The lakes, skies,and knobby hills around Argyll, Scotland, are unexceptionably gorgeous. --Richard T. Jameson ... Read more

Reviews (13)

"Jazz is the sound of the devil sniggering at our follies"

Director: Hugh Hudson
Format: Color
Studio: Miramax Home Entertainment
Video Release Date: June 3, 2003

Cast:

Robert Norman
Colin Firth
Nary Elizabeth Mastrantonio
Malcolm McDowell
Irene Jacob
Rosemary Harris

Set circa 1920, when Fraser Pettigrew (Robert Norman) is a 10-year-old the story centers around his childhood memories of his eccentric inventor father, his mother who gave up a stage career to raise a family, and an uncle who came to the family estate in Scotland with his 24-year-old French fiance.

It is a family centered, biographical story--a memoir--of a child who is curious about artwork depicting naked ladies and his grandfather's "secret" library. Also involved is the conflict between his father who is reaping sphegnum moss from the family estate for a variety of products, and his uncle who thinks his father's ventures are folly. Uncle Malcolm hopes to inherit the estate from the grandmother and throw everyone else off the place and market the lumber.

There is an interesting story here, but not a thriller or murder mystery. It is what it purports to be a story of a youngster's early life.

Joseph (Joe) Pierre

author of Handguns and Freedom...their care and maintenance
and other books

"My Life" is rather dull
Coming-of-age stories appear in all shapes, forms, and sizes. And if scenery and a top-notch cast could make a good movie, "My Life So Far" would be astounding. Unfortunately, the end result is rambling, poorly-edited, with subplots that do nothing and a dull lead.

Fraser Pettigrew (Robert Norman) lives in a rambling Scottish estate with his enormous family, headed by his brilliant, eccentric father Edward (Colin Firth) and a strong-willed matriarch (Rosemary Harris). Like most kids, Fraser decides that he wants to know what adults know, and takes steps to find out: He studies his grandfather's collection of classy porn, watches his sister flirt with a plane pilot, and investigates the inheritance rumors flitting around

But his studies of adulthood takes an unexpected twist. His elderly Uncle Morris (Malcolm McDowell) arrives with the beautiful young Heloise (Irène Jacob) from France. As Fraser befriends (and becomes slightly enamored of) Heloise, he doesn't realize that Edward has become infatuated with her (midlife crisis, where is thy sting?). The increasing tension in this family threatens to explode, unless both Fraser and Edward grow up.

The settings for "My Life So Far" cannot be faulted. The vision of rural Scotland in the 1920s is genuinely lovely. There are plenty of lakes, mist, slightly crumbly castles and beautiful aerial shots of the woods and fields. And when the film focuses on Fraser's determination to come of age, there's a gentle, syrup-less humor to the writing.

Part of the problem is sloppy editing. Most of the subplots go nowhere and offer nothing. For example, Fraser sees a strange, ragged old man wandering around, who then dies mysteriously. Nothing comes of this, and no one cares. Similarly, his sister's flirtation with the plane pilot comes to nothing. The script meanders all over the map in a seemingly random fashion and peters out from lack of interesting material, rather than actually ending.

Most films hinge on the lead actor's performance, but unfortunately Norman is a very unengaging actor. He doesn't have the sparkle to charm us. Firth and Jacob's considerable talents are wasted; Firth's character flipflops randomly between being pitiful and being a genius; while this is how the character is supposed to be, we don't get to know him very well. And poor Jacob is basically reduced to a walking pretty face with a French accent.

When you hear that "My Life So Far" is based on the early life of a BBC pioneer and Chairman of The Royal Opera House, you would assume that it's much more interesting than it is. Only a few spurts of humor and the underused talents of Firth and Jacob redeem this at all.

I never thought I'd write but - I LIKED IT!
I was bored one day and I flipped to IFC. They were playing this film so I decided to give it a try. Well, in the same likeness that an old song begins to inch its way into your heart, this film slowly began to grow on me. I sat there thinking, why am I watching this, only to find myself laughing at the absurd family in this film as I started to envision what it must have been like to grow up in that eccentric, if not completely captivating, clan.

In it, we meet a very inquisitive young man who discovers booze, sketched porn and smoking. His father, battling his own cravings but fronting a semblance of virtue, objects to just about everything his curious son seeks. It is here that we witness the comedy and wit unfold.

Give this film a try. The main character is hard to forget and the story, although uncouth is some segments, will still leave a fun impression on your mind

Decent, but nothing special. 2.5 stars.
CF: ... It's um, it's, er, about an eccentric family in the thirties, the father of which owns a moss factory.
BJ: Doesn't moss grow naturally?
CF: Well, no, he makes something called sphragnum moss, which was used to dress World War One wounds and, er, it's, er, quite a light, er, comic ...
BJ: (Very unconvincingly) It sounds very good.
CF: I very much hope it shall be.
BJ: Could I just check something about the shirt?

Sorry to quote, but this basically sums up the movie and my opinion of it. A light comedy with an unpromising plot that delivers an original, but slightly boring story about a family and a new woman that comes into their lives. Some of the scenes are quite funny, such as the sex talk scene, but nothing really stood out in this movie as all that great. I liked it, but I had a hard time paying attention the whole way through. And, to be honest, after I finished watching it I put on Pride & Prejudice and fell asleep.

CHARMING LITTLE MOVIE ABOUT COMING TO TERMS WITH LOVED ONES
This original and deliciously spontaneous film is a story of the intellectual development of a prodigious child who pieces together the complex emotional mosaic of the people around him. The acting of the kid in question is so real, so absorbed, that you'll hardly feel like an onlooker -- you become a part of the family. This is complemented wholesomely by Firth and Harris.

The setting is Scotland, and the splendid camera work that captures its idyllic natural beauty is something to behold. The shots of the huge Scottish castle and its beautiful lands are fascinating.

A word about the gentle narrative. Things unfold neatly, the story is seen in flashbacks through the eyes of the ten year old. Bearing this in mind, the plot's disconnected moments and the occasional odd characters suddenly make sense. Very clever.

The feeling of coming to terms with the emotions of people around you conveyed with such simple elegance, even a sporadic humorous moment or two, that I recommend you to watch it with just about anyone that you care about, including children.

A very special, light-hearted treat! ... Read more

Amazon.com

You might expect a ménage à trois movie called Splendor to be some sort of steamy, soft-lit sex romp, but it is, in fact, a witty, sassy romantic comedy. Writer-director Gregg Araki set out to make a '30s screwball comedy with a modern twist, and he's mostly succeeded. Splendor is brisk and funny, and if it seems a bit convenient that two guys could love (and sleep with) one woman without killing each other, it's all in the service something bigger--the story of a woman forced to choose between love and security. Kathleen Robertson has a certain impish charm (which unfortunately wears thin at times), Johnathon Schaech and Matt Keeslar are fun as the rivals who ultimately become best buds, but it's Eric Mabius who quietly steals every scene he's in as a TV movie director who's so thoughtful and kind, yet self-absorbed, that he might comfort his bride-to-be on their wedding day by sweetly telling her, "Honey, Amazon.com says I stole every scene I'm in, isn't that great?" --Geof Miller ... Read more

Reviews (27)

Better than many high-profile romantic comedies i 've seen
Splendor , the story of confused ordinary girl Veronica who enloys living a life in a threesome is really a refreshing romantic film experience. Having been directed with a speedy Mtv-like aura by Greg Araki , the film achieves to be both funny and tender. It's hard not to love it's three lead-actors , especially with the killer-lines they get to say in certain moments of the film ( "Who do you love?Him or us?" ) .All the cast delivers some good acting but the one who , in my opinion shines is Matt Keeslar as the goofy yet appealing Zed , an ex-drummer who eventually becomes his basic rival's best friend in order to get to be with Veronica too.

A Serious Film
This is a daring topic and I wish more theaters had shown the film. Can two men love a woman and share her in a way that makes it work? This movie attempts to answer that question without compulsively tacking on moralistic, "don't try this at home" endings where the relationship ends disastrously almost before it starts with jealousy-crazed, immature tantrum-throwing on the part of the protagonists. It also blows a few stereotypes in a delightful way: the two men in question seem like normal, heterosexual guys, if a bit immature; the woman is a nice, girl-next-door type who is just trying to find someone to love her and hits the jackpot, rather than a nymphomaniac. Somehow, it's the rest of the world that starts looking a bit strange after a while -- nobody else seems to get it.

The film isn't very explicit, which has its pluses and minuses -- other movies that have dealt with similar scenarios invariably do a thoroughly awkward, uncreative job of portraying a threesome, so it would have been nice to see an improvement on that -- but I think Araki wanted to focus on the romantic, emotional side of a threeway relationship rather than the sexual aspects, which this film does quite well. I would also have liked the film to be a bit longer to allow for more character development of the men (it's told from the woman's perspective so it's easier to develop her character than theirs); what was it about the men that made the woman think that it could work between the three of them? Those points aside, this is a serious film and I highly recommend it.

Cute, enjoyable romantic tale.
'Splendor' is a wonderful film by indie director Gregg Araki, who with such films as Nowhere, The Doom Generation, and Totally f***ed up, has been dubbed "The God of Alternative Gay Teen Cinema." The film opens on Halloween night at a costume party, where out heroine, Veronica, an aspiring actress (is there any other kind?) meets her Prince Charming (literally), Abel, a freelance rock critic, after he accidentally runs into her. As their eyes meet, the two realize that they are destined for each other. As Veronica begins to walk away, due to protests from her lesbian best friend Mikey, Abel asks for her number and she gives it to him. Less than five minutes later, Veronica sees the gorgeous drummer of the band playing at the party, and they immediately have sex, without even an introduction.

It isn't long before Veronica is steadily dating the two men, with their permission of course. The two men know that they are sharing the same woman, but they have never met each other. When Veronica invites Abel to one of Zed's concerts, the two men run into each other and complications arise.

This film deals with a daring topic and I wish that more theaters had shown it during its theatrical run. Surprisingly, the film isn't very explicit, but I think that Araki wanted to focus more on the romantic, emotional side of a threeway relationship rather than the sexual aspects, which the film does quite well.

This movie was very enjoyable and somewhat different from the corny romantic comedies out there, although the end did manage to take that route. The script was fresh and funny, and the performances were great. I love Kathleen Robertson and its been good seeing her in such daring roles lately. Johnathon Schaech was terrific as always, and Matthew Kessler, who plays Zed, is one of the sexiest actors I have ever seen. This is one I can watch over and over and I am eagerly anticipating whatever will come next from this great director. Highly recommended for those who want to see a slightly different romantic comedy.

A polyamorous twist wait twist wait happy movie.
Polyamorous people come from all directions on the continuum and so does this movie. We are given a variety of characters with all their foibles, scars, and blemishes and somehow most of them rise above their faults. Working through is a theme lots of new movies are dealing with. Pay It Forward, Matchstick Men, and As Good As It Gets are examples.

This movie is about one possible path we might take as urban, emotional, confused yet sexual beings that want an inclusive life instead of an exclusive one. That said... if you prefer movies with "perfect" characters in them, then "Saving Private Ryan" and "Matrix" are more your style I suppose. If you liked the complexity of Cabaret and the quirky of Singles, then this movie is similar and worth seeing.

Love Araki, Hate this movie.
I too must echo the sentiment expressed earlier in these reviews. The female lead is the most selfish, unsympathetic character I believe I've EVER seen in a movie. She uses and abuses EVERY man that she comes across. Forcing each adoring suitor to abide by her wants and desires if they wish to have any sort of relationship with her. I simply cannot bring myself to feel any shred of pity for Robertson's character as she jumps from one emotional freak out to the next. Dragging her lovers unwillingly along for the ride and playing them off of one another to get what she wants out of each relationship (guy 1 = sex, guy 2 = emotional/Intellectual support, guy 3 = MONEY).

I will simply ask this question: If the female lead was replaced by a MALE lead, who treated WOMEN in the same way that Kathleen Robertson's character does to the three men "in her life", do you think that this movie would still be "crazy and kooky fun"? I, personally, don't think so.

I think that you can see where I'm going with this.

Go rent Doomed Generation, Nowhere or Totally... if you want a real taste of Araki. ... Read more

Amazon.com

At turns both mesmerizing and frustrating, Mike Figgis's 1999experimentalfeature interweaves an audacious dramatization of the Adam and Eve myth withautobiographical vignettes from the director's life. In Figgis's goldenrendering of the Genesis tale, the first humans are a black man (FemiOgumbanjo) and a white woman (Hanne Klintoe), who emerge one day, fullyformed, from a lake, and regard each other with playful wonder. Theydiscover, like children, their anatomical differences, and explore thesurrounding green paradise until coming upon the tree of knowledge. From thisthey eat and almost instantly reevaluate one another with a steely lust. Thustheir, and our, fabled fall from grace ends in the mire of sexual possessionand walled-off feeling, a tragedy that Figgis (Leaving Las Vegas) usesas a touchstone for the contemporary story of a filmmaker named Nic (Julian Sands). Nic's own youthful experiences with various kinds of formativehumiliation, including finding his teenage girlfriend in bed with his bestfriend, are presented as flashbacks meant to resonate with his maritalunhappiness today. Less clear are other moments out of time that don'tparticularly connect with Figgis's major theme, especially an odd developmentin which twin sisters (both played by Saffron Burrows), each unaware of the other's existence, have a fleeting, worlds-are-colliding encounter at anairport. Figgis also reaches into a grab bag of Nic's other old sorrows,things that don't uniquely inform or enhance the film's point, and muddiesthings up a bit. But the sheer hubris of marrying a myth with a memoircarries the day here, and Figgis leaps the hurdle of potential self-parodywith a certain courage. --Tom Keogh ... Read more

Reviews (26)

thinks it's more clever than it is
The film itself, on an aesthetic level, is quite stunning and beautiful, but the non-linear narrative, which weaves in two modern (? ) tales with an inventive representation of Adam and Eve starts to unravel a bit as the story progresses--which is unfortunate, because the film does such a subtle job of telling a story without spelling it all out for the viewer. My only strong reservation is that the funeral scene characters were never woven back into the narrative concerning J. Sands--a frustrating omission that derails an otherwise compelling essay on the issue of desire, sex, love, and loyalty. But it's definately interesting and beautiful to watch.

paradise lost
You've got to admire ambition. The Loss of Sexual Innocence is a meditative, impressionistic, mostly dialogue-less, deeply beautiful and aggressively non-linear exploration of various forms of innocence lost--or shattered. The chopped-up plot structure at first is confusing, but as the threads start to come together the parrallels drawn and metaphors presented are provocative. A film that makes its audience really think ought to be appreciated in our age of brainless blockbusters. Though it is best to keep in mind that there is no solid main point, no overall meaning you're meant to find in the film. In the end it is more like a piece of music than a story: weaving themes in and out, leaving the audience to form their own opinions and interpretations. While it doesn't succeed with flying colors, it is certainly worthwhile and interesting, and stunningly gorgeous to boot.

Gotta see it to believe it.
2001: A Space Odyssey meets Blue Velvet. It's as carefully paced and music-laden as the former, as far from redemption as the latter. Don't read any blurbs or summaries, just watch it.

why original sin anyway
There is so much symbolism and obscure reference in this film that I am not at all certain I grasp what the producer/director had in mind. There are some wonderful moments - like the twins who almost meet - well, they do meet but the moment of recognition is shattered by a breaking bottle of wine. There is quite a lot of nudity in the film - but it's certainly not erotic.

The most obvious interludes relate to the Garden of Eden and original sin. I don't think the intention of the film was to shift my perspective, but it did. Why was the tree of knowledge forbidden, and the serpent the tempter? Why wasn't the tree of knowledge intended for man's indulgence, and the serpent the opposition man (and woman) had to pass through? The reward would then be the gift of life - the greatest gift of all (even though it is tainted inevitably with death) - and sex, far from being the corruption it is so often seen as, would be the wonderful instrument of acceptance and the mantra of life.

Too artsy and boring
After his masterpiece "Leaving Las Vegas" I was looking forward to the next film from the talented Figgis but this is one of the most boring films ever made. I love slow, art-house films and having more music than dialogue was intriguing but this one just put me to sleep. A cure for insomnia. How could the twins at the airport not talk to each other? Maybe I missed something. ... Read more

Description

BASED ON THE NOVEL "GIRL IN HYACINTH BLUE"Inspired by love, sold in desperation, bought in passion and stolen in greed: this priceless masterpiece has played a pivotal role in the lives of everyone who has owned it.As he settles into his new job at an American prep school, an art teacher, (Thomas Gibson) is approached by a reclusive historian Cornelia Engelbrecht (Glenn Close, Sarah, Plain and Tall) who believes he alone will appreciate a secret treasure she has long guarded - an unknown Vermeer painting.Although Richard is overwhelmed by its beauty, he doubts its authenticity.How could such a masterpiece be hidden for centuries?Drawing upon a lifetime of singularly focused devotion to its history, Cornelia reveals the secrets behind the mystery of "Girl in Hyacinth Blue."From the moment three centuries ago when an impoverished Dutch artist painted the beautiful image of his daughter seated at an open window, the legendary masterpiece has been admired, coveted and pursued by its owners - from impoverished farmers to a wealthy society woman (Ellen Burstyn).All forever entwined in its legacy and unknowing participants in its future.Based on Susan Vreeland's best-selling novel, Brush With Fate traces the history of a masterpiece that has changed many lives, but still has a greater secret yet to reveal. ... Read more

Reviews (3)

Johanes Vermeer, painter
The painter Johannes Vermeer really excisted round 1650 in the Netherlands. Actually he is a famous painter. The painting was a fantasy, but in his style of painting people. The story is also a fantasy. But by choosing this item the film shows a good impression of our Dutch history. A real good performance and historical checked details.
I saw in my city, the same place Vermeer used to live years ago, the scenes.
But is is very sad that the movie never came to The Netherlands, We re not able to see it.

Brush With Fate
Excellent story. Costumes and setting depicting Vermeer's life in Delft was surpurb. Was there a 'lost' Vermeer painting? Story leaves one thinking it was very possible. Each episode of what happened to the painting was very feasible.

Brush With Fate
This Hallmark movie was interesting but I am left with a vacant feeling as to what happened to the painting? Is there more to this story that I don't know about....the movie kept me interested, great actors....and would like to know if there was such a painter named Vermeer? I just don't feel that it ended right. ... Read more

Amazon.com

With its hallucinatory visions of crawling dead babies and a grungy plunge into the filthiest toilet in Scotland, you might not think Trainspotting could have been one of the best movies of 1996, but Danny Boyle's film about unrepentant heroin addicts in Edinburgh is all that and more. That doesn't make it everybody's cup of tea (so unsuspecting viewers beware), but the film's blend of hyperkinetic humor and real-life horror is constantly fascinating, and the entire cast (led by Ewan McGregor and Full Monty star Robert Carlyle) bursts off of the screen in a supernova of outrageous energy. Adapted by John Hodge from the acclaimed novel by Irving Welsh, the film was a phenomenal hit in England, Scotland, and (to a lesser extent) the U.S. For all of its comedic vitality and invigorating filmmaking, the movie is no ode to heroin, nor is it a straight-laced cautionary tale. Trainspotting is just a very honest and well-made film about the nature of addiction, and it doesn't pull any punches when it is time to show the alternating pleasure and pain of substance abuse. --Jeff Shannon ... Read more

Reviews (206)

One of my all time favorite movies
I fell in love with this movie the first time I saw it and I have watched it many times since.

Its a fast-paced funny, sad, moving picture. Its a great slice-of-life view of junkies in Edinburgh. The characters are all fantastic and almost all endearing.

The soundtrack was top-notch - check out the two CDs it spawned.

The original book is an excellent read as well. The movie was largely true to the book however there were a number of events that took place in the book that the movie didn't show. Reading the book clarifies a few of the things that happen in the film - for example there is a scene in the movie where Spud does some amphetamine before going to a job interview. I was unsure of his motivation (other than getting high) in the movie but in the book it was clear that he did the speed so that it would look like he was eager for the job, but wouldn't get it - so he could continue to receive his unemployment compensation from the government.

I recommended this movie highly to my parents and they didn't like it. They found it to be quite sad and depressing, which I suppose I understand, but was not something I personally felt about it.

Painful, scary, graphic, and just plain brilliant
Movies SHOULD make you think, and boy does this film do that! "Trainspotting," an uncompromising look into the lives of heroin addicts, is not for those with weak stomachs, or weak minds for that matter. Is it anti-drug or pro-drug? I don't know, but it sure turned me off from ever trying heroin.
Ewan McGregor's breakthrough role as Renton made him a star. In this film, he is the dirtiest, skinniest, and most unattractive I have ever seen him. But he's very good anyway. He plays a young man with no ideals (until later) except having a good hit. It's disturbing to watch what happens as he struggles to stay clean.
This is not a pretty picture. This movie is sad, disgusting, and doesn't allow for sympathy for any characters except Renton only occasionally. But it's engrossing. You might be so appauled by what you see that you keep watching. You might know someone who is a drug addict who struggles like these guys do and feel what they're going through in some fashion. Or you might turn away from drugs altogether once you see the extreme of consequences.
Warning: You may hate this movie. You may be offended. If you are, I won't think less of you. But remember, America does have a drug culture too, and there are people like Renton and Sick Boy (my God, and even Begby) present in our society. Sometimes movies show us things about ourselves that we don't want to see. It's one of the most difficult cinematic tasks, but I think this movie pulls it off.

Love it
I love this. At first it's shocking, and yes a little difficult to understand but concentrate for a little while and you'll pick it up, it is in English afterall. I've also read the book (absolutely amazing) and I have to say that I think the adaptation was done really well considering the length and depth of the story line and all the characters.

Now just a correction... this film is set in SCOTLAND not Ireland... as it states that Renton goes into "the worst bathroom in SCOTLAND" not to mention the references to Scottish cities and of course Renton's tirade about how horrible it is to be Scottish.... but i suppose if some people weren't so busy reading the subtitles they might have actually gotten the chance to watch the film....

But seriously it is definitely worth seeing, it's dark, funny, raw and very NOT hollywood infested.. :o)

Love this Movie
Trainspotting as you know stands for Heroine. With that said, the movie is about a group of young people are are hooked on it and the things that happen to them.

The movie is set in Ireland- you may have a hard time in the beginning understanding the heavy accents, so put you captions on, but after awhile things get better.

The movie talks about some very controversial topics: HIV, drugs, and overdosing. It would even be a good educational movie for youth to look it because the movie really takes you inside the mind and body of someone hooked on the drug.

And the music is spectacular. I would recommend you buying the CD soundtrack- just awesome.

Rent the movie and if you like buy it. This is an independent international movie.

OK but not great by any measure
This is a well-executed film with lots of great images, especially using the dead baby. But it's pretty flashy in a TV commercial or music video way & after a while I found the gimmicks wearing thin. I've read a lot of excellent junky lit over the years - one in particular that stands out is Trocchi's brilliant Cain's Book from the 1960s (another Scots junkie, yet). Trainspotting isn't bad, but like My Private Idaho & the film version of Fight Club, it's a pretty superficial demographic concession to the suburban live-life-as-proxy mentality that has become the prime target of mainstream films the last few years. ... Read more

Reviews (8)

2 Family House.
A married Italian man falls in love with an Irish woman whose husband left because she gave birth to a black baby! All of this occurs in 1950's Staten Island.

You'll recognize many of the cast members from the Sopranos, but this is no mafia story.

Michael Rispoli is excellent in his search for happiness amid a variety of social issues faced. Marital, familial, ethnic and racial relations are all explored, and the result is a warm, funny and entertaining movie.

Finally
I never write reviews, but this movie would be proudly my exception. It's just definitely one of the most human pictures and the kind of performances I've rarely seen since East of Eden. "It's an irrefutable fact that there's at least one moment of total selflessness in a man's life." -Two Family House

Two Family House an outstanding place to visit
A great movie with many outstanding performances by relatively, really relatively, unknowns. Heartwarming, humorous, nostalgic, totally elevating and causing much reflection on how humans treat one another today, in the past and with hope for the future. Very hard to forget this movie, its characters and its lessons. Hope not to.

warm and wise
This is essentially a character study of a decent guy, Buddy Visalo, who realizes 11 years into his marriage to Estelle that his family and friends are his jailers, stopping him from realizing his dreams of running a tavern. Estelle crushed his dream of auditioning for Arthur Godfrey's TV show, now she would have him stay at a mind numbing factory job for the sake of conformity. He buys a two-family house (against Estelle's objections), and when he meets his upstairs tenants, an Irish-American boozehound and his pregnant wife, his life starts to change. There is a happy ending, there is virtually no profanity (hurray!), and the setting of time and place, 1956 in Staten Island, NY, is realistic. Many of the actors are from The Sopranos, and this enhances the sense of familiarity one feels instantly with this group of Italian-Americans leading ordinary lives. There are no big speeches, no grandstanding displays of emotions, just the quiet depiction of a man re-gaining his own sense of self worth after years after putting his dreams on hold. Buddy is a decent guy, and you cheer him on his journey.

Smart and Sweet
What an absolutely lovely film this was. And what a shame it never enjoyed wider release, for it is eminently worth viewing. I was even more delighted when I found out that it really was based on a true story...the director/writer is Buddy's nephew.

Buddy Visalo is a lovable, warm, and bumbling dreamer whose wife Estelle constantly deflates his trial balloons--because she is expected to by her culture and the times they lived in. She wants Buddy to take no chances and would rather he kept a job he hated than try something new and more daring.

To realize his dream, Buddy must ignore Estelle and also evict the pregnant Mary O'Neary from the upstairs of the place where he hopes to start his bar. This eviction pains him greatly. How he assuages his pain and helps her out is the heart and soul of "Two-Family House".

This is a movie about doing good for someone and expecting nothing in return, about trying to fulfill a dream and dealing with the obstacles that are in your way. It is not a complex movie with a hidden agenda and messages tangled up in a lot of gimmickry. There are serious themes treated seriously, but never in a preachy way. It is just uplifting and full of truths with a hero who is Everyman. As one reviewer said ...."Buddy is off on an adventure that surprises even him. To accompany him is to experience filmgoing joy." ... Read more

Amazon.com

Raymond De Felitta's Sundance 2000 Audience Winner is a sweet little romantic drama set in the insular Italian and Irish neighborhoods of 1956 Staten Island. Narrated with the conversational ease of a bar story, it stars Michael Rispoli as Buddy, blue-collar Italian American with big dreams, a golden voice, and a history of failed business schemes. His latest scheme involves turning a two-story firetrap into a bar with an upstairs apartment, but first he has to evict the squatters he inherited with the house: an abandoned young Irish mother (Kelly Macdonald) and her half-black child. Guilty over his hardhearted decision, he sets them up in an apartment and essentially adopts them. An unlikely friendship begins in clashes and verbal fireworks and turns into a gentle romance while Buddy confronts his own prejudice and smothering cultural values.

De Felitta is uncharacteristically generous to both his clannish working-class chorus and Buddy's wife Estelle (Kathrine Narducci, from The Sopranos), who undermines her spouse's efforts and ridicules his ambition out of sheer conformism. Rispoli, by contrast, is accepting and warm as a guy hungry for his piece of the American dream, and Macdonald's scrappy single mom is full of Irish dander that melts into a romantic sparkle and loving support. Two Family House is inspired by the true story of writer-director De Felitta's uncle, and there's an engaging modesty and loving understanding in this portrait of one man's rebellion against the stifling values and judgmental intolerance of his community. --Sean Axmaker ... Read more

Reviews (8)

2 Family House.
A married Italian man falls in love with an Irish woman whose husband left because she gave birth to a black baby! All of this occurs in 1950's Staten Island.

You'll recognize many of the cast members from the Sopranos, but this is no mafia story.

Michael Rispoli is excellent in his search for happiness amid a variety of social issues faced. Marital, familial, ethnic and racial relations are all explored, and the result is a warm, funny and entertaining movie.

Finally
I never write reviews, but this movie would be proudly my exception. It's just definitely one of the most human pictures and the kind of performances I've rarely seen since East of Eden. "It's an irrefutable fact that there's at least one moment of total selflessness in a man's life." -Two Family House

Two Family House an outstanding place to visit
A great movie with