Description

This comedic and touching family film follows the adventures of a shy young boy (Haley Joel Osment) who is sent to spend the summer with his eccentric uncles (Michael Caine, Robert Duvall).At first shocked by his uncles' unconventional behavior that includes ordering African lions through the mail, the boy soon becomes enthralled with unraveling the mystery that has followed the uncles for years. Hearing tales of their exotic adventures involving kidnapped princesses, Arabian sheiks and lost treasure, not only brings him closer to his uncles but also teaches him what it means to believe in something... whether it's true or not. ... Read more

Reviews (168)

Something for Everyone.
The best way to describe SECONDHAND LIONS is that it's like an independent art film for families. The movie is a hodge-podge of genres and varies between the sublime to the parodical. The plot revolves around a young boy named Walter and how he ended up being raised by two crazy bachelor uncles in the mid 1960s. The uncles (played by Duvall and Caine) have been missing for forty years and have recently returned to Texas to live out the rest of their days. Rumor has it that the old coots have millions of stolen loot stashed away somewhere and every salesperson and relative within a thounsand miles is trying to get their hands on some of the cash.

Children will like this movie especially for the cheesy flashback scenes that appear to be a cross between Indiana Jones and Saturday morning cartoons. However, cheesy as those scenes appear, they fit for the purposes of the film.

The movie also has something to say about faith and honesty. In fact, this is probably the best film I've seen about faith since SIGNS. It takes faith to believe the unbelievable, but when you find out what you were believing really was true, it becomes even that much more amazing.

Highly recommended for families, old codgers, and eccentrics like myself.

Wonderful family film! Rare these days.
This was a great movie. I just saw it last night -- for the second time. With Robert Duvall, Michael Caine, and Haley Joel Osment, how could they go wrong? But there's many a film out there that boasts a multi-talented all-star cast and yet still fails to deliver the goods.

SECONDHAND LIONS is not one of them.

The story is about young Walter who is just barely in his teens and is sent to live with his two great uncles. He constantly hears rumors of their hidden treasure that they stole from Al Capone, or took from a wealthy Arab, or obtained through a lawsuit, or...whatever you want to believe. Throughout the movie, Walter learns from his uncles, Hub and Garth, how to grow into a man and what the truly important things are in life; and Garth and Hub learn from Walter how to enjoy life to the fullest.

The drama here is fantastic, and only once does the emotionalism get a little over-the-top (which is why I gave it four stars instead of five). The acting is fantastic. In this adventurous film you'll be reminded of images of INDIANA JONES, LAWRENCE OF ARABIA, among many others.

...

I wish every goofball (i.e. summer blockbuster) filmmaker in Hollywood -- you know, the ones that think creative filmmaking means having alot of CGI characters jumping around on skyscrapers and fighting villains in Power Ranger suits -- would simply sit down and watch SECONDHAND LIONS. Then they would know how to make a good movie.

WHAT DO YOU BELIEVE IN?
It was sad for me to see adults pushing their kids in the long-winded queues for Spiderman2 and Pokemon at the local theatre, while this touching entertainer was tossed aside (relatively) to the sidelines.

There is no doubt that Secondhand Lions is a semi-manipulative film, it has its fair share of smarmy feel-good contrivances that betray its zeal to tug at our heart strings. But the quirky mirth of all its characters, the idiosynchratic plotline, and a healthy dose of moving, meaningful moments makes this a very wholesome experience.

Duvall and Caine, as two reclusive millionaire uncles drunk on guns and eccentricity, pitch in very well. Caine warms up to his part in the film first, but the screen is really owned by a very fit Duvall, who soon becomes the pivotal character in the film as the uncle that the kid (Hailey Osment) turns to for advice. Osment does remarkably well to hold his own against these two big tykes. A barnful of cute animals and a truckful of drooling relatives round up the doozy cast.

Some fantastic (literally) flashbacks form an interesting trope for the movie's core message: that in our lives having conviction in things we may doubt to be untrue is ultimately a critical virtue. This leads to a somewhat corny twist at the end but it's an interesting one to make the point. There's plenty of action and some amusing gags that even evoked loud guffaws in the theatre.

All in all, whether you have kids or not, but especially if you do, this deserves a recommendation of the highest order.

Best Family Movie in a long time
I loved this movie. Laughed and cried. I do not usually buy movies, I only own three - we rent alot, but this was a must have. It is the best family movie we have seen in a very long time. I can't wait to see it again.

Wow (for sure)
I cannot understand why Amazon uses paid reviewers who are afraid to like the films they review and don't even bother to see many of them, as indicated by the errors of fact in the second quoted review. Make no mistake, folks, this is the real thing: a truly mesmerizing family film that is able to be humorous, scary, thrilling and inspiring - frequently all at the same time. How many years has it been since three generations of your family were able to repeatedly laugh and cheer loudly for a film? This is in the rare class of films that will go on and on, like Wizard of Oz, Shane, Dragonslayer, High Noon, Miracle on 34th Street, and a very few others, except that it is better than several of them. It is a film for all time and all ages. It is definitely not just a "kid's picture". Perhaps I am partial to "modern legends." I think we all are. ... Read more

Reviews (150)

Unpredictable, Dream-like, and Uncanny
Eternal Sunshine of the Spotless Mind is definitely one of those gems of a movie that makes sense despite its twists and turns. I'm not sure if this is a representation of the continuing wave of independent films with big name stars, such as last year's Lost In Translation, but it certainly was worth watching. It's one of those films that has a natural ambience.

The film does not follow the mundane plotlines as most Romantic comedies. Of course, in the beginning just when you think it's going to be one of those boy meets girl, boy loses girl scenarios, Charlie Kaufman, Eternal Sunshine's screenwriter pulls a curve ball. The relationship between Joel (Jim Carrey) and Clementine (Kate Winslet) appear complicated, and indeed it is. But somehow Kaufman ties it all together in the end. This film is about identity and memory, and coming to terms with the past in order to tie loose ends that exist in the present.

The most uncanny aspect of the film is the appearance of opening credits 15-20 minutes into the movie! The film almost has a 'Magical Mystery Tour' feel -- the beginning starts off predictable, then suddenly half-way through the film you're hit with a warp sense of Joel's memory and experiences, and then the concluding scenes lends itself to an additional plotline somewhat relevant to the relationship between Joel and Clementine, which involves LacUna, the company that erases both Joel and Clementine's memories. Unfortunately, it is the weak portion of the film.

The cinematography was effective in portraying the fast paced parts of the film as well as the overexposed photography -- it gave that indie feel as well as the surreal-like effects. In addition, I found the soundtrack of the film to be quite interesting. At times I thought one of the opening chords or sound effects came from Pink Floyd's Dark Side of the Moon, or maybe fragments of The Beatles' A Day In A Life. I was disappointed that ELO's Mr. Blue Sky wasn't present in the film, but then again it only appeared in the film's trailer.

Nevertheless, I recommend this film to anyone interested in catching a movie that's fresh and unpredictable.

Probably Kaufman's Best
Surprising enough, given the inclinations of his doppelgangers in the films he has written, I think Charlie Kaufman truly understands love. This is, in fact, quite obvious upon watching Eternal Sunshine of the Spotless Mind.

In the first scene, we see Joel Barish (Jim Carrey) skip work impulsively and take a Long Island train to Montauk. There he sees Clementine Kruczynski (Kate Winslet) and they have a cute, though uncomfortable, meeting scene. But in a Kaufman film, nothing is as it seems, and we soon realize that this is not the first time Joel and Clementine have met. In fact, they have just ended an unhappy love affair and chosen to have each other erased from their memories.

This is only the first time switch that we will be presented with. But the beauty of Eternal Sunshine of the Spotless Mind is that the film is not hard to follow. The memory-erasing process is not remotely science-fiction in its presentation and is explained within the context of the story. Dr. Howard Mierzwiak (Tom Wilkinson) operates Lacuna, Inc. with help from eraser Stan (Mark Ruffalo), his girlfriend Mary (Kirsten Dunst) the receptionist, and co-eraser Patrick (Elijah Wood). When Joel discovers through a friend that Clementine has had him erased, he vindictively goes to do the same, but then realizes--right in the middle of the process--that perhaps even bad memories are better than no memories at all.

I'm always very impressed by films that use special effects to enhance the storyline instead of substituting for it. The scene in Amelie where she melts is a perfect example. Eternal Sunshine of the Spotless Mind is the same way. While Joel is having his memory erased, we are taken through scenes from his and Clementine's relationship and we watch as the memory is erased bit by bit. One scene in a bookstore is particularly effective as the titles on the books begin to fade until the shelves are filled with white. In other scenes, people's faces will turn unrecognizable, giving the whole thing an eerie effect.

Charlie Kaufman is undoubtedly one of the more original screenwriters Hollywood has working today. So far, the four films (not including Confessions of a Dangerous Mind) he has released have been directed by only two different directors--Spike Jonze and Michel Gondry--and they both began by directing music videos. I think this is an example of the kind of cinematic vision that it takes to interpret Kaufman's work. Michel Gondry directs Eternal Sunshine of the Spotless Mind with a sure eye for the material, something that was missing from their previous collaboration, Human Nature.

The cast is uniformly excellent. Jim Carrey loses his usual antics entirely, even when playing a four-year-old version of himself. I hope he has stopped "trying" to win an Academy Award, because this may be the year he takes it. Kate Winslet is a little out of her element as Clementine but she pulls it off wonderfully by just letting the script tell her what to do. Kirsten Dunst is becoming the go-to girl for fully ripe portrayals--she uses her body to its best advantage (there is a long scene where she is only wearing a T-shirt and panties), but as long as it's okay with her, it's okay with me. And it is really quite a relief to see Elijah Wood playing a decidedly non-heroic role. I had not seen Mark Ruffalo before--though I heard a lot about his work in You Can Count on Me--but he is truly solid, even a standout among this stellar cast.

I've had to hold back on the description of Eternal Sunshine of the Spotless Mind because a lot of the joy is in discovery and going along in the story with the characters. But, by all means, you must see it. It is Kaufman's best film yet--it may be his masterpiece, and I really liked Adaptation. If he continues to improve as he has been, we are really in for a show ten or twenty years down the road.

Disappointed
I was really expecting this movie to be great from all the hype, and it was anything but that. I really was upset for wasting my time watching the movie. I would definately not recommend this movie to anyone. I really did not enjoy this movie.

Easiest Charlie Kaufmann piece to enjoy
I wasn't sure what to think the first time I saw Being John Malkovich, I didn't dislike it but I didn't like it either. It certainly kept me interested throughout as a concept, very very bizarre. I read Susan Orlean's The Orchid thief and was interested to see Adaptation which was equally bizarre but easier to get into. I didn't know what to think about Eternal Sunshine when I saw the previews but I knew I had to see it, and to this point in 2004 it is bar none my favorite movie. The plot line is intense and interesting througout never allowing you to feel comfortable until the credits start to roll. Extremely well acted and layed out, the cinematography is first rate. Characterization in this film is different from his other works because the majority of moviegoers can relate to the feelings and predicament Jim Carrey's character ends up in.

Haunts the memory
I honestly don't know where to begin when describing this movie. Is it a comedy? Is it a drama? A love story? A strange trip? Quite simply yes it is. And at the same time it's one of the most original movies of the past five years that aren't obscure fare that 10 people see and declare it life changing.

The story is an everyman/everywoman story of love, loss, redemption, and memory. We've all had relationships we say we want to forget forever when they're finished, forget all the bad times that led to the loss of the relationship. This movie perfectly captures that you may want to forget all the bad things but then you'd lose everything else you found along the way.

Usually when I see a movie, even a good one, I walk out of the theatre and within half an hour I remember the basics of it, the funny lines, the epic battle scenes. But when I walked away from this movie it stayed with me for days. I would hear a song and equate it to the movie (btw "I Am Trying To Break Your Heart" by Wilco is dead on to the movie), watch something on television and find something from the movie. The last line of the memory erase gave me chills. I've rambled enough. If you like great movies buy this the day it comes out, I know I will, it comes out the day before my birthday so a birthday present for me. ... Read more

Reviews (25)

Hey Hon, Here's a Great Movie From Bal'mr
For many years, I was outraged that this classic entry in director, Barry Levinson's Baltimore series of films, was out of print.Well I'm glad to report that this hilarious, nostalgic comedy has been brought to light in the DVD format.The film takes place in Baltimore, (Circa 1963), where we are introduced to the world of the 'Tin Men'. These are notorius, aluminum siding salesmen, who will use any con or scheme to get customers to sign on the dotted line of a contract. We are intoduced to two such 'tin men'(wonderfully played by Richard Dreyfuss and Danny DeVito) when they both accidentally hit each other in their Cadillacs. From then on a war of words and pranks begins. This escalates to the point that the Dreyfuss character has an affair with DeVito's wife (well played by Barbra Hershey). Eventually the affair, which started out as a form of revenge, blossoms into love.While this film is very funny it plays out against a melancholic background, because the story gives you the feeling, that the days of the 'tin men' have come and gone.Their livelyhood's days are numbered and in order for these men to survive they will have to move on.The acting in this movie is great.All three lead actors in this film (Dreyfuss, DeVito, Hershey)play their roles to perfection.This is an ensemble that really works. Barry Levinson has written and directed a story that is both humorus and touching.We really care about these characters.The dialogue is also first rate. In the tradition of the other Baltimore films, many of the characters have hilarious conversations about the smallest details in life.My personal favorite scene is when one of the salesmen obsessively keeps going on and on about how unrealistic the TV show 'Bonanza' is ("Who ever heard of a 50 year old guy with three 47 year old sons?").The DVD to this film is clear and crisp. It has trailers, deleted scenes, and a wonderful commentary track which includes Levinson and many of the priciple players.All in all this is a great movie, where the writing,directing,acting all gel together to make marvelous entertainment.Get this DVD!

Classic Slice of Life Tale
Most movies try and take you to a place you normally could never experience. This is not one of those films. Tin Men, is the kind of story that in some form or another, mimics most of our own lives. The main characters are two salesmen who sell aluminum siding. They live in a time when aluminum siding was relatively new product, and sometimes apply some shady tactics to make a sale. Despite that, this film is not about a time of corruption in the home improvement industry. I believe the editorial review might have that wrong. Rather, it's about the everyday working lives, loves, and times, of working men in this kind of business.

Every story needs conflict, and this one begins with a minor traffic accident between Danny Devito, and Richard Dreyfuss's characters. Both are "Tin" salesmen who drive Cadillac's, because they believe it will impress their customers. As the battle of pettiness wages between these two men, we get to peer into their everyday lives. The battle escalates to the point of great humor, but never goes over the line, to hatred and cruelty.

Barbara Hershey plays Devito's long-suffering wife, who is romanced by Richard Dreyfuss's character BB. It's an attempt by him to gain the ultimate revenge. While I won't reveal the plot here, suffice it to say it does not turn out the way he thinks. This is a movie you should see during a quiet time. I had originally watched it when I was distracted at college, and got almost nothing from it. I couldn't even remember much of the movie, and didn't think I liked it. Later, when a friend rented it, I saw it in a calmer state, and I realized it was a great movie.

The score is excellent, blending songs by Fine Young Cannibals, with Frank Sinatra and others. The backdrop is 1960s Baltimore, and it presents a time in America, rarely presented in a period piece. When I try to explain why I like this film to others, it seems next to impossible. It's just a finely crafted film about ordinary people, which leaves you with a good feeling when it's done.

TERRIBLE MOVIE
I'd give this movie a negative star if I could. AVOID this movie. It's terrible. Not one positive thing could be said about this movie.

Perfect movie
About a third of the way through Tin Men, B.B. and Moe run the Life magazine scam on a housewife. The three of them stand on her lawn, talking, and in the background another woman walks towards them on the sidewalk. The camera shifts to another angle, and it takes about a second longer than it should for the woman on the sidewalk to come into view. That minor continuity error is the only flaw I can find in this movie.

You know from the start that you're in for something special -- the very title sequence is beautiful. The whole movie is eye candy, in fact, with some of the richest colors I've ever seen on screen. The yellows, the blues... And the costumes! Check out what Nora's wearing when B.B. visits her at work.

It's a romantic comedy -- B.B., out for revenge, steals Tilley's wife Nora but falls in love with her, not at all what he was after (his partner, Moe, asks if he's never spent consecutive nights with a woman before, and B.B. responds, "Have we met?"). It's a great plot, and a great script with lots of background.

There are four scenes in this movie that stand up with anything I've ever seen in a movie: B.B. and Nora in the social security office; B.B. and Nora in the rain; Tilley and Nora on the porch; and B.B. and Nora having breakfast.

Nora, the central character, is played by Barbara Hershey, whom I adore. B.B. is Richard Dreyfus, whom I detest -- except in Tin Men. He is just as right here as he is wrong in every other movie I've seen him in. The secondary characters are also brilliant, especially Bruno Kirby. This is the movie that turned me on to Bruno Kirby.

Caddies, Aluminum sidings, and Fine Young Cannibals!
What makes 'Tin Men' an entertaining movie mostly depends on its substance. It's a situational comedy. When two men, Danny DeVito and Richard Dreyfuss, go at it over a car accident, that is just the beginning of a strife that never seems to end. Soon we have smashed car windows, eggs and potatoes, and a broken marriage. That's not all, we also get some very interesting dialogue; how about how ridiculous 'Bonanza' is, the mis-pleasures of picnics, hearing DeVito repeat the words 'Ease off!", expert Morangai dancing, and "are they salesmen or hustlers?" While all this is happening, we also get Fine Young Cannibals' classic 80's hit 'Good Thing'

Recommended

B ... Read more

Reviews (150)

Charlie Kaufman messes with our minds once again.
Charlie Kaufman's screenplay for "Eternal Sunshine of the Spotless Mind" may be his most elaborate cinematic mind game yet; as filmed by Michel Gondry, with a superb cast led by Jim Carrey and Kate Winslet, it's at least tied with "Being John Malkovich" as his most entertaining. This definitely is a movie that the less you know about it going in, the better, so this is all I will tell you about the plot: Tom Wilkinson is a doctor who heads Lacuna Inc., a company devoted to helping people erase their most unpleasant memories; Carrey and Winslet are an unhappy couple who (separately) come to Wilkinson to wipe out all memories of each other; Kirsten Dunst, Mark Ruffalo and Elijah Wood are various employees of Wilkinson, with entanglements of their own. From there on in, the movie becomes a virtuoso meditation on the importance of memory, the problem of pain and the persistence of love. Kaufman and Gondry (aided immeasurably by photographer Ellen Kuras, who gives the film a compellingly unreal look) have many, many surprises in store for us, all of which would be spoiled if I said any more about them. I'll just say that viewers have to work to keep up with the whiplash changes and hairpin turns of the plot and the visual imagery, but I think most will find it worthwhile. "Eternal Sunshine," as you would expect from Carrey's presence, gives us lots of chuckles and a number of belly laughs, yet its overall mood is romantic and serious, even melancholy. Carrey gives what is probably his best performance to date, and the rest of the cast matches his high level of talent and energy. "Eternal Sunshine" is one more of Kaufman's brainy cinematic rollercoaster rides, and adventurous filmgoers should hop on board immediately.

Good but...
A little too much drama at the end. Was that nurse thing really needed? I mean really, was that necessary? It just made the story hollywoody and stupid. Couldn't the two with almost-clean minds have remet and recreated the same mistakes all over again without the tape-thing. It would have been so much more satisfying. So much more mature and worthy of five stars. Nah, it does not deserve five stars. Nor is it the GREATEST movie ever made. Jumbled memories are becoming fashionable, so this movie is in line, decent and worth watching.

Wow. This Is Amazing...
If "Lost In Translation" merged with "Memento" and a romantic comedy, you would have this movie. The dreamscapes are wonderful, intoxicating. The special effects are designed to be invisible, adding to the surreality of the whole thing. As "the straight guy" myself, I can appreciate Carrey's character a great deal myself. Wow. It was ...incredible. I will have to see it a few more times before I can review it more thoroughly. Needless to say, it really touched a cord.

Relationship, love, and the memories of the pain and joy
This film is brilliant, but don't go in expecting to be blown away, just let it take for a ride and creep its way in. This film summed up what relationships are like. A wonderful film. Also a note to Betty Burk....you have far too much time on your hands dear.

Bends your mind and heart at the same time.
"Pope Alexander," I mean, Alexander Pope, wrote in his poem "Eloisa to Abelard," "How happy is the blameless Vestal's lot! The world forgetting, by the world forgot: Eternal sunshine of the spotless mind! Each prayer accepted, and each wish resigned." Borrowing Pope's line for his title, Charlie Kaufman's new film deals with Joel (Jim Carrey) in the process of the "world forgetting" after he realizes his ex-girlfriend Clementine (Kate Winslet) has reformed into the "world forgot." As Joel journeys and relives his past memories, as if suffering through numeral déjà vu, he regrets and wishes to preserve that which will soon be surrendered into oblivion.

The Lacuna Inc. specializes in the erasure of particular memories that you wish to omit from your mind. Headed by Dr. Howard Mierzwiak (Tom Wilkinson), Lacuna is not a glamorous or prestigious firm but rather a somberly subdued one. No surprise considering that dejected victims pay them visits in order to obliterate troublesome recollections. The mechanisms that delete the memories appear effete and look like something you manually conjure up in the garage when you're bored. Even Dr. Mierzwiak's team: Stan (Mark Ruffalo), Mary (Kirsten Dunst), and Patrick (Elijah Wood), are tawdry, unprofessional, and unethical. "Eternal Sunshine of the Spotless Mind" can be categorized as a science-fiction film but surely an unconventional one, where there are no alluring futuristic gadgets and the technological advances is not the highlight of the film. Its sci-fi elements merely functions as a tool that incites the romance in this movie. (...) ... Read more

Reviews (69)

A definite MUST SEE film!
This is a "change your life" type of film.

A survivor of a plane crash must come to terms with this new and improved, awakened and liberated version of himself, this version of himself that has suddenly been unburdened of a lot of timidity and fearful emotional baggage he'd been lugging around through his adult life.

And those around him must also come to terms with this radically changed person that has emerged in the wake of his Near-Death-Experience.

The movie is beautifully acted. Bridges' performance is exceptional, perhaps his finest. As are the performance given by Perez and Rossellini and the rest of the cast. Weir's directing is superb and sublime. The script is a beautiful distillation of finer points of the novel of the same name; and the use of time in this novel is brilliant. And the music ................. what can I say: this is one of my favorite soundtracks.

This is movie of profound substance, profound enough to disturb, to awaken, to cause one to question one's life, perhaps even to effect real change. As Kakfa wrote, in a letter to a friend, "I think we ought to read only the kind of books that wound and stab us. We need the books that affect us like a disaster, like the death of someone we loved more than ourselves, like being banished into forests far from everyone, like a suicide. A book must be the ax for the frozen sea inside us." I think Kafka would have really liked this film as it has high ax potential.

Very highly recommended.

What's fear?
Maybe everyone or at least I will sometimes wonder what if the plane I'm taking crash or something tragic happen...

This compelling movie gave me some idea or I should say insights of the aftermath of a plane crash, how Max Klein's(Jeff Bridges)life change after surviving a plane crash. Max suddenly become a phenomenon,he is fearless. Was it a miracle?? Did he become spiritual?? He saw the "Light",he help to lead some people out of danger. He then walked away from the scene. But Max was never himself again,he felt distanced from his wife and son and only reckon with helping Carla Rodrigo. Great performance by Rosie Perez as Carla Rodrigo(also a survivor)but a mother who unable to save her child and full with guilt and woe. He also realised that he's no longer having strawberry allergy. Bizzare things happened to him and he seem to enlighten by the true meaning of Life and death.

There's a twist in the end and I'm totally astounded by such brilliant and awakening finale.

Interesting way of depicting the situation by Max's recalling bits and pieces of the incident and through several angles from the survivors during their healing session.

Superb direction by Peter Weir. Vivid special and visual effects,amazing script by Rafael Yglesias. Mesmerizing movie which what me wonder what's life all about and what's fear?? Am I dare enough to face up to my greatest fear??

A forgotten masterpiece of the '90's - one of Weir's best
There are directors making movies of modern cinema, and then there's Peter Weir. Here's a guy who has never gotten the commercial success of Spielberg, the artistic raves of Kubrick, but equals or surpasses them on so many levels. Case in point: Fearless, another great film in a slew of great Weir films that takes a genre and doesn't necessarily break from it but explores it in unexpected ways. The subject of choice is an airplane crash, of which Max Klein (Jeff Bridges, lacking a deserved Oscar nom for this one) is one of a few dozen survivors. While many would be racked with grief (he lost his best friend and business partner), Klein experienced an epiphany of peace and bravery that carries through his experiences post-crash as well. We've seen things of this vein so many times that I thought I knew where Fearless was going, but at each end I was surprised. I expected romantic subplots and the like, but Weir holds the film with a knowing, masterful grace that he fully concentrates into the character Bridges plays.

Fearless is less an exploration of grief than it is simply an intense look at the entire world of someone whose life is nearly taken. Rosie Perez receieved an Oscar nomination for her great work as a fellow survivor whom Max befriends, but the movie veers away from melodrama and woe-is-me theatrics even with them, instead showing what comfort we find among those who share our trauma. And Fearless never always seems like it's like the movie it appears to be, proof again of Weir's incredible talent of looking at a theme from another angle (what made Master and Commander an intimate character drama and not a mindless actioner). So much territory is covered in the film, yet it never seems dense, and the catharsis at the end is a payoff like none other. I found myself weeping at the film's magnificent finale - a lot - and yet the tears that Fearless elicits are not ones of sadness or happiness, but of satisfaction and pure emotional movement. It's nice to know there are directors out there who can make movies so powerful and yet never make us feel manipulated one bit. GRADE: A

BRIDGES FALLING DOWN
Masterful director Peter Weir helms this story of a man who survives a plane crash, and hangs on to his newfound fearlessness to help others, while basically destroying himself. Jeff Bridges gives a riveting performance, one of his best, in the role of Max Klein. Before the crash, Max lived in a world like others, afraid of flying, and a victim of strawberry allergies. He becomes a hero as he seemingly saves the lives of several other survivors; one little boy is so taken with Bridges that he continues to visit him after the traumatic experience. Rosie Perez won an oscar nomination and deservedly so for her role as Carla, a young mother who blames herself for her little baby's death in the crash. Isabella Rosselini, as beautiful as ever, plays Bridges wife who tries to bring him back into the real world he so seemingly willingly left behind. Tom Hulce plays their lawyer, a good performance, one that makes you like him rather than find him repulsive. John Turturro as a grief counselor is excellent in a small but well developed role. Benicio del Toro merely fills the space as Perez' opportunistic husband; Deirde O'Connell as the widow of Bridges' partner is startingly effective.
FEARLESS moves at a slow pace, and I found myself getting angry with Bridges for neglecting his family to help Perez. The strawberry ending while definitely effective is also a tad too perfect in how it resolves Bridges' crisis.
But even with its flaws, FEARLESS is an unusual and moving film, heightened by the wonderful performances of its cast.

One of the most life-affirming films ever made
"Fearless" is one of those great movies I decided to watch without any expectations. And I was absolutely floored, not only by the storyline, but by the letter-perfect performances, particularly Jeff Bridges (who is under-rated in general, never more so than here) and Rosie Perez (probably her best-ever performance). This film is second only to Kieslowski's "Three Colours: Red" in my all-time favorites. Both the opening and ending scenes are haunting, heartbreaking, and at the same time, fill you with a kind of hope based on the actions of certain characters. The ending scene, for me, is one of the great single scenes of the movies, and could reduce the most stoic man to tears. If you've never seen this film, you really are missing out on something truly special. I almost forgot about what could be the pivotal scene of the film: where Bridges tries to help Perez come to terms with her guilt by strapping her into the back seat of his sedan, placing a fire extinguisher into her arms, then taking off full speed in the sedan towards a brick wall while "Where The Streets Have No Name" by U2 plays on the soundtrack. The combination is flawless and absolutely heart-wrenchingly human. This movie is just crying out for the Criterion treatment, as the pan & scan version of the current DVD is the only flaw. Don't miss it. ... Read more

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Overshadowed by GoodFellas when it was released in 1990, State of Grace gradually emerged as one of the best New York gangster films of its decade. It was also the first to feature the Irish American mob known as the Westies. Here, their territory west of Times Square is being gentrified by an unwelcome infusion of yuppie cash, squeezing them into a reluctant alliance with Mafia kingpins. Frankie (Ed Harris) is the boss; little brother Jackie (Gary Oldman) is his volatile muscle; their friend Terry (Sean Penn) has returned from an extended absence, harboring a dangerous secret while rekindling his love for Frankie and Jackie's sister Kathleen (Robin Wright, Penn's future wife). Giving one of his scariest, most violent performances, Oldman offers stark, brutal contrast to Harris's pent-up fury, while Penn breathes life into his character's standard-issue dilemma. A former protégé of Steven Spielberg's, director Phil Joanou handles this gritty potboiler with confident, unobtrusive style, ramping up the tension of divided loyalties, even as the plot grows increasingly familiar. --Jeff Shannon ... Read more

Reviews (43)

Excellent Gangster film
Terry Noonan (Sean Penn) returns to Hell's Kitchen after a ten year absence. He immediately falls back in with his childhood friend Jackie ( Gary Oldman), whose brother Frankie ( Ed Harris)is now running a powerful Irish mob. Frankie's organization is looking to make a deal with the Italian Mafia, and Jackie wants Terry brought in to make things run smoother. Unfortunately, Terry is also an undercover cop, and his sole purpose for coming back is to infiltrate Frankie's organization. Things become even more complicated, when Terry manages to rekindle an old romance with Jackie's sister Kathleen (Robin Wright). Now Terry is torn between his job, and remaining loyal to his friends and the woman he loves.

When people bring up the subject of mob films, State of Grace is never mentioned. The story behind the film is very captivating because it shows the fine line between standing by your friends, and doing what's right. The film does a very good job at masking Terry Noonan's intentions because you can never tell which side he is truly playing for. State of Grace is an original in the mob genre because it offers a look at the Irish mob, instead of the Italians. The Irish are natural born fighters and extremely violent. This is what made State of Grace such a powerful mob film. The cast is first rate in this film featuring Sean Penn, Gary Oldman, Ed Harris, Robin Wright, John C. Reily, and John Turturo. Each actor involved was brilliant in their roles.

Overall, State of Grace is probably one of the best mob films I have ever seen, and one of the most underrated films ever made. The story was captivating from beginning to end, the entire cast did a first rate job, and you get to take a first hand look at the Irish mob.

A solid 5 stars...

An Irish "Novel" of friendship and betrayel
I watched this movie about ten times and think it's one of the most underrated movies around. Coming along with a great cast like Sean Penn, Gary Oldman, Ed Harris and Robin Penn Wright, this movie caught me again and again from the first second to the last.
Set in Hell's Kitchen New York the movie let's you breathe in the Irish athmosphere and tells a bloodthirsty story of friendship & betrayel. Sean Penn plays Terry Noonan, an undercover policeman who was infiltrated in an Irish gang lead by the Flannery brothers ( fantastic play by Gary Oldman and Ed Harris ). The film reflects very good Noonan's split emotions beeing a cop investigating against his former friends and the growing love to the sister of the Flannery brothers ( above average play of Robin Penn Wright ).
The film combines a good story, great actors, silent and short eruptions of violence and maybe one of the most impressive shoot out final ever ! Fantastic camera work!
If you like films like "Good Fellas" and "Reservoir Dogs" you should not miss this one. If you hide yourself behind a pillow when violence comes into play, leave it.

Interesting
State of Grace is a good movie with great actors. The film follows a conventional storyline but is "buoyed up" by the novelty of the subject, the Irish Mob. About half way through the movie, the various characters start to interact in interesting ways, and the film acquires a momentum that it keeps until the end.

Unfortunately, none of the characters seems sufficiently developed to draw the viewer completely into the turmoil that is unfolding on the screen. Terry is the most complex character portrayed, but ultimately, at the end of the movie, I didn't really care what happened to Terry or his girlfriend, Kathleen. For me, becoming involved in a character's experience on screen is what separates adequate films from great films.

I give State of Grave three and a half stars. State of Grace is no Goodfellas, but watch it for compelling performances by Sean Penn and Gary Oldman, for the unique subject matter and for some fun action sequences. However, if you want to be inspired, or devastated, or watch a movie that conveys broader themes than what is happening physically on screen, I would recommend watching something else. This movie is a snapshot into a world, nothing more, nothing less. It left me with a vague feeling of emptiness and I won't be adding State of Grace to my DVD library anytime soon.

A GANGSTER FILM WITH A UNIQUE AND ORIGINAL STYLE.
*** ½ stars rating for this film. "State Of Grace" is not a copy of "The Godfather" or "GoodFellas", it's a story about a second-rated group of gangsters that are trying to gain respect and territory in New York. The first thing that you can notice in "State Of Grace" is the cast: Sean Penn, Gary Oldman, Ed Harris, Robin Wright, John C. Reilly and John Turturro, among others.

In Hollywood there are three actors that can portray over-the-top villains, and still be believable and threatening. One of them is Gary Oldman, in a very convincing performance. The other two guys are Christopher Walken and Dennis Hopper, but the role in "State Of Grace" was perfect for Gary Oldman.

"State Of Grace" is a movie that never is boring, these anti-heroes are so well portrayed by the cast, that the characters have a very human quality, they are very complex and multidimensional characters, and as a result, the audience is always interested in them. The biggest selling point of "State Of Grace" is the fact that the film never tries to imitate "The Godfather", and that originality is welcome.

A Turning Point in Gangster Movies
I first seen this movie soon after it was released (VHS) and was very impressed considering most people hadn't heard of it. It was refreashing to see a director who finally wanted to make a movie about the Irish Mob, who afterall were the longest established organised crime group in NY. I strongly disagree with a reviewer from Medford, NY who described Oldman's character as somewhat over the top. In my opinion, this is Oldman's finest performance to date! Having read many books on the Westside Irish Mob (as they refered to themselves) including The Westies by T.J English, Oldman brought the real life character Mickey Featherstone to life on our screens in Oscar style fashion! Believe me , these characters are not your average Italian style gangster; slick-back hair, well dressed killers. Most of these men had no such delusions of grandeuer when it came to how they looked. Many were hard drinking heroin addicts who if hadn't been shot, would have killed themselves anyway! These story lines have a much harder edge than your average Italian/Jewish gangster film because of a notorious drug and drinking culture that the other two etnic crime groups considered to be sloppy and unprofessional. Other films such as Southie have tackled these issues also, portraying a family from the projects coming to terms with alcoholism, drug abuse and gun culture. Don't get me wrong, I love Goodfellas and The Godfather but you have to admit, you won't beat the Irish when it comes to telling a story with typically unique ingredients. Jonau, indeed, could have been far more brutal in his portrayal of these men. Storys of a victem's head being taken on a pub crawl of the westside are now legendary. Ed Harris and Sean Penn turn in fantastic performances also, but Gary Oldman steals the show. I couldn't believe it when I found out shortly after watching the movie that Oldman is infact English. His portrayal of what is generally accepted to be Mickey Featherstone, is awsome! Those of you used to your typical Italian gangster movie be prepared for a crash landing into the world of psycotic, alcoholic, drug addicted killers! No dyed hair and flashy suits here! Just cold blooded, knee jerk reaction murder! ... Read more

Reviews (37)

An Interesting Movie to Watch
I rather liked this movie. Despite some animation/real life scenes where both sides mixed and just didn't fit, it is a good movie to watch. I think it is equal, if not better than Roger Rabbit. Cool World is a twisted, Toon Town where chaos happens all around and an eyelid is never battered. A good escape from reality.
The animation is fantastic, and Brad Pitt does very well considering he was acting on his own most of the time.
Kim Basinger spoils the climax with her poor acting as a human. She's better left as a cartoon.
The music is fantastic and suits the scenes well. Cool World is in a category of its own and a much different movie to watch then most would expect.

5 stars for the animation and sound track. Minus a star for allowing Kim Basinger a role in the movie.

Bakshi makes another liveactionanimation film, of vapidness
I've seen his live-action/animation film "Coonskin", and that was great. Now that I saw "Cool World", I'm dissapointed. This film is the worst 4/10 film I ever rated. I don't call it a Roger Rabbit rip-off (I'm wondering why people are, but it's not, just because it is also live-action and animated doesn't mean we call it a rip-off [did we call Roger Rabbit a rip-off of Coonskin or other live-action/animated films before RR...hmmm!!??]) The artwork is nice and bizzare, but that is one of the few merits this film has, but the animation bleeds together horribly with the live-action (for example, when Brad Pitt put his arm around Lonnete, he looked as though he put his arm around a living card-board cut-out.) The soundtrack has a 4/5 merit, but that's the only other merit. The plot is horrible, I dunno why certain people actually like this plot. This film deserved to flop in the Box-Office. The dialoge is fairly weak as well. If you are going to buy this film, DON'T. Don't even rent it! Just buy the soundtrack and you'll live happily ever after away from this film.

Bakshi's worst movie
The movie is poorly written not to mention the lame special effects. Its a completly souless film. If you liked Fritz the Cat,Wizards,American Pop, or other films by Ralph Bakshi, than stay away from this, because its embarassing.

ADULT ANIMATION, NOT FOR YOUNG CHILDREN
The dvd has Great Quality Sound and Video with lots of vivid colors and many sexual inuendos. There is a Great story line as long as you can follow a plot that suggests that there is more to life than just living on "earth" such as going back and forth to alternate universes. If you have seen and liked "MEET THE FEEBLES" You'll like this one too - this one does not have any bloody scenes or explicit sexual scenes, much is left up to the imagination. I think that Many people need to Learn to use their imagination more and not be so closed-minded.

Holly Wood If She Could
Cool World is a more mainstream effort from Ralph Bakshi (Lord of the Rings, Wizards, American Pop) than some of his other works but it still shows his genius.

There exists a two-dimensional world called Cool World. Sometimes our worlds overlap. In Cool World, humans are Noids and cartoons are Doodles. Brad Pitt is a Noid who has been stuck there for years and has been acting as a detective.

The villain (if you want to call her that) is Holli Would, a sexy, talented and smart doodle who wants to get to the Noid world. She plans to do this by having sex with a cartoonist who thinks he created Cool World for a comic book.

Pitt works to prevent this from happening as the results could cause the destruction of both worlds. But Pitt has his hands full as Holli is no mere brainless bimbo.

The effects are wonderful as cartoon scenery goes from drawing to prop seamlessly. While Cool World looks a little like Toon Town (Roger Rabbit) with its faces on buildings and twisted landscape, but these are not cute toons (although the Tex Avery-style wolves do make an appearance).

A fun movie with adult themes and unique imagery. ... Read more

Description

When down-on-her-luck country girl Shirlee Kenyon (Dolly Parton, STEEL MAGNOLIAS) walks through the wrong door at the right time, she accidentally becomes Chicago's newest talk-radio celebrity and turns the Windy City's hottest radio station upside down! With her homespun wit and down-home advice, Shirlee immediately wins listeners' hearts -- but causes hilarious confusion for her ratings-conscious boss (Griffin Dunne -- MY GIRL) and comical havoc for the investigative reporter (James Woods -- 40 DAYS AND 40 NIGHTS) trying to uncover her mysterious past! If you're looking for no-nonsense advice on what hit movie offers you pure entertainment -- you'll love every comical minute of STRAIGHT TALK! ... Read more

Reviews (21)

Straight nonsense!
Not Dolly's best and definitely not James Woods' best, who obviously needed some extra cash at the time. The pairing of Dolly and Woods makes no sense - it's hard enough to believe that they simultaneously act - but in the same movie? Also not to sound perverted but Dolly's characters are always the same - the cocky, wisecracking, yet down home and innocent cowgirl played out long ago. Straight Talk, unfortunately offers little laughs.

Excellent movie, but DRAB DVD package :(
If you've seen Straight Talk, you're no doubt a fan. This light-hearted movie is such a pick-me-up! I just love finding a movie I can watch several times and still laugh out loud!! I just love the scene where she loses her $20 bill on the bridge and James Woods comes to the "rescue"! The soundtrack is even good with songs written and performed by Dolly.

The DVD falls short though. No extras, no inner liner notes and it's ONLY available in full screen - YUCK!! Hollywood Pictures Home Entertainment should be ashamed of themselves for putting out such a poor product. Maybe this film wasn't a total blockbuster, but it sure deserved a better presentation than what it got.

Movie *****
DVD **
Overall ****

From the author of Tales of Ancient Xenar
I don't consider myself much of a movie watcher, so its rare for me to review a movie. But this film has earned a rare honor of having a review done by me. I have to say that hands-down this is one of Dolly Parton's best performances (better than 9 to 5 and far better than the Best Little Whorehouse in Texas.) In the film, she gives Chicago radio listeners good old southern down-to-earth advice. I wish the city I live in has a radio columnist like her. But I'm sure a lot of you who have seen this film and enjoyed it agree with me. We all should have an advisor like Dr. Shirlee (oops, I mean Shirlee.)

Good.... But No Extras!
I loved this movie! Shirlee Kenyon was a down on her luck country girl, when a mistake turns her into a big time radio doctor. I thought that her boss was kind of an a hole... He goes by the impression that people who have been married 3 times are losers, or those that have something real to say, He would write them off as losers..

This film shows off Dolly's spicy side of things! She had quite a few one lines... "I am like a one legged man in a butt kickin' contest!' Plus you get to see an early appearance of Terri Hatcher! (Lois & Clark The New Adventures of Superman)

I would like to have seen the trailer. as well as the music videos and even a commentary would have been nice... Aside from that, I still love the film....

No OAR = No Sale...
A fun movie for sure; but where's the theatrical widescreen edition? Sorry, but I only purchase DVDs displaying the film's ORIGINAL ASPECT RATIO. ... Read more

Reviews (23)

Ensemble Cast, First-Rate Acting, and Raw Storytelling Power
In a world where Big-Budgeted Blockbusters rule,....it's a nice refreshing turn to see "little films" soar! I had the distinct pleasure of viewing this simplistically, yet elegantly shot masterpiece in the art-house theaters,.and it's just damn good storytelling,with NO special digital effects or CGIs from ILM!
William Hurt and Harvey Keitel (in his best performance since Mean Streets and Bad Lieutenant) are incredible followed by a bunch of supporters like Stockard Channing, Forrest Whitaker,Ashley Judd (like you've never seen her!)and Oz's Harold Perrineau Jr. All of these characters are intertwined like the best Robert Altman film you've ever seen plus some! Be warned! It IS slowly paced,.but the highlight of the film is the story Keitel tells Hurt in the coffee shop at the end. Just notice how slowly Keitel tells the story,and the slowest dolly push in shot, and how beautifully framed that one shot that covers the whole scene pretty much looks. It's ALL character-driven performances are top-notch all around,and Auggie's(Keitel)Brooklyn Cigar Shop (the central setpiece) will mesmerize you long after the credits roll! Once again,.this film is not for kids, or Steven Segal or Van Damme fans with 1/2 hour Springer time-slot-esque attention spans! Enjoy, and e-mail me with your opinions!( Also check out the sequel called Blue in the Face!It's from the same writer/director team (Paul Auster and Wayne Wang) who brought us Smoke. New music from the Jerry Garcia Band,too!)

Sleeper Smoke fine example of great movie story-telling
In an era where big budget glitz rules the film industry, a well crafted movie like Smoke is a breath of fresh air. Harvey Keitel, who plays the central character of Augie, is the one constant in an ever-moving stream of humanity that is Brooklyn. Augie is both witness and participant,and through the lens of his street corner perched camera, we realize that the world is made up of millions of stories, nearly all of which are in some way compelling. William Hurt's character is one such story. Once a prolific writer, Hurt's talent has been thwarted by life's brutality, one which we are reminded of constantly thoughout the film. Finally, he is able to deal with the grief of his wife's loss throught the selfless act of helping a young runaway. The scene where Hurt spots his wife in one of Augie's street corner photographs is one of the films many poignant moments. Great performances are delivered without exception by all the actors, but as is the case in so many of his films,Mr. Keitel steals the show. Probably more so than any actor of his generation, Harvey Keitel has mastered the ability to create characters who are both human, warts and all, yet also sympathetic. The telling of his Christmas story to the faithful customers of the smoke shop is probably the highlight of this film and is simply a brilliant piece of story-telling. What makes Smoke so different from mainstream movies is the fact that one can't help but feel that one is watching a well acted play, in that every line of dialog is so crucial, every character so meaningful.Not a scene could have been deleted without seriously damaging the final product, and when was the last time you could say that about a film? Smoke portrays Brooklyn convincingly as an exotic stew of diverse cultures and personalities, and in at least some of these personalities we must surely see a bit of ourselves.

It's hard to be a writer in New York City
This film is one of the strangest films you may encounter. The search for a father that turns sour-sweet, sour first because the father does not want to believe the boy is his son, sweet then because after some negociating with several witnesses of the meeting he will accept the idea and come to some fatherly agreement. The search for a father by a mother for her daughter in order to attempt her salvation from drugs and the salvation of the baby she is carrying. It turns frankly sour if not even bitter without any hope for recognition from the daughter and any salvation. The search for some financial success that has to do with hard work on the side of Auggie and pure luck on the side of Thomas, aka Rashid. And the good luck of one will compensate for his negligence that turned the hard work of the other into destruction and loss. And it all ends with a strange Christmas story, for the New York Times, mind you, where Auggie assumes the identity of a shoplifter of his and celebrates Christmas with the shoplifter's blind grandmother and shoplifts her apartment of a brand new camera that was probably stolen anyway in the first place. The film ends thus on pictures of the obvious pleasure of the black grandmother kissing and hugging the white Auggie as if he were her black grandson who had of course forgotten to come and celebrate Christmas with his grandmother, too busy he was shoplifting magazines, or other valueless goods, here and there.

Dr Jacques COULARDEAU

Harvey's Butt Takes Second Stage
"Smoke" is one of those movies that you'd probably be better off buying rather than renting. It deserves --perhaps even requires-- multiple viewings. 'Great,' you may say, 'another movie that I have to watch a dozen times to understand.' No, no. Don't be afraid. The reason I suggest this is not because the film is presented in a haphazard format (like the double helix-like antics of "Pulp Fiction"). It's not because the dialogue is cryptic or scant, the story unfolding with minimal explanation. And, no, don't worry, it's not because it's so damned pretentiously quirky that things seem to be going absolutely nowhere, reminiscent of highly overrated films such as "The Royal Tennenbaums", "Punch Drunk Love", and "Adaptation": those where ultimately, you learn virtually nothing about the plot and characters. So why do I recommend that "Smoke" be watched more than once? There are actually a couple of primary reasons: First, I'll explain why it 'deserves' multiple viewings, and secondly, why it may 'require' them:

1) Simply put: This is a comforting film. If you need to be loved or wanted, or just want to hang out with some friends who have been in your shoes and will listen and provide solace... then this is the story for you.

Compassion is the essential theme of "Smoke". We have a drugged-out girl (Ashley Judd) who gets pregnant, with an alcoholic mother (Stockard Channing) struggling to reunite with her ex-boyfriend (Harvey Keitel) --who is also the purported father of her daughter-- in order to assist Judd's character with raising her child, and to provide a family atmosphere. Enter next a seventeen year-old boy (Harold Perrineau Jr.) attempting desperately to obtain employment from an amputee owner of a nearly bankrupt gas station (Forrest Whitaker) whom he believes to be his long, lost father. The boy ends up befriending -the last of the six characters-- a once popular writer (William Hurt) who, as a result of multiple traumas (mainly because of the loss of his wife), has lost his literary mojo; consequently, he is reclusive and somewhat paranoid of others. These are all seriously confused people, folks. But as the story progresses --at a pace that is neither hurried nor lagging behind, echoing the pace of the characters' deep thought and introspection, and thus allowing the viewer time to synthesize the consequences of their realizations-- these people become involved with others that share their pain and loss, and they console one another. There really are no antagonists in this film. Of course, none of the characters are even close to perfect, evidenced when they engage in some questionable and objectionable acts (never extending the scope of realism as to make them ridiculously quirky, I must add); but the important thing is that they all learn from their mishaps and paranoias, and bequeath their knowledge to influence positively each others' lives. To conclude why "Smoke" deserve multiple viewings: There's a lasting effect that I liken to listening to a comforting song, over and over and over again.

2) Though the pace of "Smoke" was concurrent with the goings-on in the characters' lives, these people are nonetheless complex. They are intellegent, introspective, and contemplative --and also great storytellers and listeners, to boot. But complex stories and complex characters both demand a high degree of attentiveness, and as a result, there is a greater probability of something being missed. For this reason, additional viewings may be required.

For whatever reason, I highly recommend at least one viewing of "Smoke". The acting is highly realistic --even improvised many times during the film, eliciting an occasional chuckle. Few times have I seen a film where personal highs and lows are so well-balanced. Then why only four stars? Well, the improvisation seems to get a little out-of-character sometimes, and the direction is occasionally shoddy. But overall, this is a great DVD to buy -not rent.

Great Film, Even Though Harvey's Butt Wasn't Shown
"Smoke" is one of those movies that you'd probably be better off buying rather than renting. It deserves --perhaps even requires-- multiple viewings. 'Great,' you may say, 'another movie that I have to watch a dozen times to understand.' No, no. Don't be afraid. The reason I suggest this is not because the film is presented in a haphazard format (like the double helix-like antics of "Pulp Fiction"). It's not because the dialogue is cryptic or scant, the story unfolding with minimal explanation. And, no, don't worry, it's not because it's so damned pretentiously quirky that things seem to be going absolutely nowhere, reminiscent of highly overrated films such as "The Royal Tennenbaums", "Punch Drunk Love", and "Adaptation": those where ultimately, you learn virtually nothing about the plot and characters. So why do I recommend that "Smoke" be watched more than once? There are actually a couple of primary reasons: First, I'll explain why it 'deserves' multiple viewings, and secondly, why it may 'require' them:

Simply put: This is a comforting film. If you need to be loved or wanted, or just want to hang out with some friends who have been in your shoes and will listen and provide solace... then this is the film for you.

Compassion is the essential theme of "Smoke". We have a drugged-out girl (Ashley Judd) who gets pregnant, with an alcoholic mother (Stockard Channing) struggling to reunite with her ex-boyfriend (Harvey Keitel) --who is also the purported father of her daughter-- in order to assist Judd's character with raising her child. Enter next a seventeen year-old boy (Harold Perrineau Jr.) attempting desperately to obtain employment from an amputee owner of a nearly bankrupt gas station (Forrest Whitaker) whom he believes to be his long, lost father. The boy is befriended by a once popular writer (William Hurt) who, as a result of multiple traumas (mainly because of the loss of his wife), has lost his mojo for writing; consequently, he is reclusive and somewhat paranoid of others. These are all seriously confused people, folks. But as the story progresses, their lives intertwine, and they console one another. There really are no antagonists in this film. Of course, none of the characters are even close to perfect, evidenced when they engage in some questionable and objectionable acts (never extending the scope of realism as to make them ridiculously quirky, I must add); but the important thing is that they all learn from their mishaps and paranoias, and bequeath their knowledge to influence positively each others' lives.

The pace of "Smoke" is neither hurried nor lagging behind, echoing the pace of the characters' deep thought and introspection, as well as the hypnotic lucidity of their storytelling, thus allowing the viewer time to synthesize the consequences of their realizations. Indeed, a rapid or slothy pace are often why movies are ineffective; but "Smoke" is a refreshing exception. Additionally, the empathetic vibe of the film can be likened to that of a comforting song. There's a lasting effect that grabs you inside, and will not let go; or, perhaps better put: nicotine is addictive, is it not?

Though the pace of "Smoke" was concurrent with the goings-on in the characters' lives, these people are nonetheless complex. They are intellegent, introspective, and contemplative --and also great storytellers and listeners, to boot. But complex stories and complex characters both demand a high degree of attentiveness, and as a result, there is a greater probability of something being missed. For this reason, additional viewings may be required.

For whatever reason, I highly recommend at least one viewing of "Smoke". The acting is highly realistic --even improvised many times during the film, eliciting an occasional chuckle. Few times have I seen a film where personal highs and lows are so well-balanced. Then why only four stars? Well, the improvisation seems to get a little out-of-character sometimes, and the direction is occasionally shoddy. But overall, this is a great DVD to buy -not rent. ... Read more

Reviews (172)

Predictable, but enjoyable
This film, based on the book by Stephen King, tells the story of the summer in which 11-year-old Bobby Garfield (Anton Yelchin) loses his childhood innocence, gaining introduction to the mystery, melancholy, and disillusionment of adulthood. The mystery is supplied by Ted Brautigan (Anthony Hopkins), the upstairs boarder with a psychic gift and a fear of the 'low men' who are hunting him. The disillusionment comes from his own mother (Hope Davis), a struggling single woman whose dreams are rather cruelly crushed in the course of the film.

This film revisits territory mapped out in a previous film based on a King story, "Stand By Me," in which the idyllic world of youth, marked by standard childhood preoccupations (friends, a new bike) and terrors (the neighborhood bully) is invaded by the macabre or supernatural, which stands for the unknowns of the wider world. King has used this device repeatedly and effectively. Played by a gifted cast, it works again here, although it offers few surprises. Brautigan's psychic power is handled in a low-key manner, which has frustrated some reviewers. However, the should remember that this film is really about Bobby and Ted's ability is a device by which the filmmakers show Bobby's maturation.

The kiss by which all others in your life will be judged
You can always tell the best movies adapted from Stephen King novels because the advertising for such films never trumpets the author's or puts his name over the title (the trailer points out this is from the author of "The Green Mile," whoever he might be). "Hearts in Atlantis" the film is essentially the first novella from "Hearts in Atlantis" the novel, and tells the story of the last summer of Bobby Garfield's childhood. This is one of King's nostalgia stories, set in 1960 when Bobby (Anton Yelchin) has just turned 11 and been given a library card (an adult library card) by his mother (Hope Davis) instead of the new bike he really wants. His mother launches into what is clearly a standard speech about how the death of his father years earlier left the family destitute, but we cannot help notice that she always has new dresses to wear. Bobby has his best friend Sully (Will Rothhaar) and gal pal Carol (Mika Boorem) to fill the holes in his life, but then Ted Brautigan (Anthony Hopkins) moves into the upstairs apartment.

Bobby and Ted become friends, although his mother is uneasy over their relationship from the start. Ted hires Bobby to read him the newspaper each week and also asks him to look out for "low men" (low in the Dickensian sense). Bobby dismisses this later task as some sort of private joke until he learns that there are indeed strange people after his friend. This introduces the element of fear into Bobby's life, not only as he realizes that his friend might have to go away, but as he comes to understand that his selfish mother has no love to share with him. Consequently the film moves back and forth between the sweetness of nostalgia, which reaches its highest point when Bobby and Carol share "the kiss by which all others in your life will be judged," and the fear that Bobby's precarious world is going to crumble apart. When this world does fall apart, in several different ways, Bobby does more that survive. He grows up.

"Hearts in Atlantis" is a period piece, but the television being black & white and the cars having fins fades into the background as King investigates the eternal world of adolescence. Ted has a strange gift, the reason why he is being sought out by the shadowy figures that arrive in town, but we keep pushing that out of the way because it only gets in the way of the relationship between Ted and Bobby. Of course, having such a gift bears a price that becomes unavoidable. Director Scott Hicks and cinematographer Piotr Sobocinski invest Bobby's neighborhood with a grandeur that we know is nothing more than the product of young mind's, who insist on seeing things better than they are. The images are reinforced by William Goldman's literate script, which transforms King's story into poetry, and the actors are equal to the words in their performances. The result is a lovely little intimate film.

SHADOW PLAY
Having read the novel on which this film is based, I can congratulate Scott Hicks and screenwriter William Goldman for their faithfulness to the general feel of King's novel. The movie, however, is only composed of the first story in the novel, so those who haven't read the book don't know what fate awaits Bobby and Carol.
One of the main changes in the film regards the low men. In the book, they are much more enigmatic and mysterious. The movie doesn't fully explain who they are, but there are some indications that they are FBI men out to snare Ted Brautigan, whose psychic abilities are "requested" by J. Edgar Hoover. Anthony Hopkins, always the professional, has some very tender moments, but much of the time he appears to be "acting" rather than filling the role. However, again, his character's motivation is veiled and never fully explained, so Hopkins may not have felt he could do any more with it. Hope Davis as Bobby's mother does a good job, but she is so consistent in her tone that we never fully understand what she goes through and whether she loves Bobby or not. David Morse, who has worked in King material before (he was excellent in GREEN MILE), plays the adult Bobby, and even though he has few scenes, he is quite good in them. The true stars of this movie, however, are Anton Yelchin and Mika Boorem as young Bobby and Carol. Yelchin is so natural it's hard to believe he's acting; he doesn't try and say "Hey look I'm a kid and I'm a good actor." He just seems to inhabit Bobby's shoes, and does a remarkably good job. Boorem as Carol is likewise down to earth and believable in her role as the young "girlfriend" of Bobby. Their little love scene on the ferris wheel is as tender and realistic as any you'll see by mature adults. Hicks does well in directing the young actors, and the camera work is evocative and plaintive. However, at times it's like he's saying "Remember me..I got nominated for an Oscar for directing "Shine", so I have to be as artsy and esoteric as I can."
Stephen King's track record for good movie adaptations of his novels has been hit and miss. This one falls somewhere in the middle...the children rescue it and it leaves a somewhat bittersweet mark on your heart.

Great soundtrack, but something missing overall...
Just watched this movie for the second time and remembered why I didn't add it to my list of favorite films. The movie has the potential to be great but seems to try too hard to be another "Shawshank Redemption", losing focus and glossing over parts of the film that might deserve more, while paying too much attention in other areas that don't improve the viewer's experience.

The oldies-filled soundtrack is one of the best things going for the movie, offering familiar and mostly upbeat tunes, even if the placement might feel too obvious. Others have mentioned what a fantastic job the younger actors do, and Anthony Hopkins is competent here, though it has to be noted that he wasn't working with stellar material to begin with.

Overall, Hearts in Atlantis offers some good scenes and music, but serious Stephen King and Anthony Hopkins fans are likely to be disappointed.

Stephen King: Not just all blood and guts
Hearts in Atlantis is an excellent film that pulls at your heart-strings and causes you to make parallels with your own childhood.

Anthony Hopkins does an excellent job in playing the mysterious character of Ted as well as the rest of the cast who round out this effecting tale of lost innocense and relationships lost.

I found the story to be quite interesting and it kept my attention throughout. I found the relationship between Ted and Bobby very moving and sad all at the same time.

Even if one is not a fan of Stephen King, give this one a shot. It is more along the lines of "The Green Mile" rather than an "It" or a "Dreamcatcher."

The last lines of the movie sum this wonderful film up nicely and leave the viewer feeling a strange combination of sadness and inspiration all at once. I highly recommend this film. One of Stephen King's best adaptations. My complements to director Scott Hicks. ... Read more

Reviews (150)

Unpredictable, Dream-like, and Uncanny
Eternal Sunshine of the Spotless Mind is definitely one of those gems of a movie that makes sense despite its twists and turns. I'm not sure if this is a representation of the continuing wave of independent films with big name stars, such as last year's Lost In Translation, but it certainly was worth watching. It's one of those films that has a natural ambience.

The film does not follow the mundane plotlines as most Romantic comedies. Of course, in the beginning just when you think it's going to be one of those boy meets girl, boy loses girl scenarios, Charlie Kaufman, Eternal Sunshine's screenwriter pulls a curve ball. The relationship between Joel (Jim Carrey) and Clementine (Kate Winslet) appear complicated, and indeed it is. But somehow Kaufman ties it all together in the end. This film is about identity and memory, and coming to terms with the past in order to tie loose ends that exist in the present.

The most uncanny aspect of the film is the appearance of opening credits 15-20 minutes into the movie! The film almost has a 'Magical Mystery Tour' feel -- the beginning starts off predictable, then suddenly half-way through the film you're hit with a warp sense of Joel's memory and experiences, and then the concluding scenes lends itself to an additional plotline somewhat relevant to the relationship between Joel and Clementine, which involves LacUna, the company that erases both Joel and Clementine's memories. Unfortunately, it is the weak portion of the film.

The cinematography was effective in portraying the fast paced parts of the film as well as the overexposed photography -- it gave that indie feel as well as the surreal-like effects. In addition, I found the soundtrack of the film to be quite interesting. At times I thought one of the opening chords or sound effects came from Pink Floyd's Dark Side of the Moon, or maybe fragments of The Beatles' A Day In A Life. I was disappointed that ELO's Mr. Blue Sky wasn't present in the film, but then again it only appeared in the film's trailer.

Nevertheless, I recommend this film to anyone interested in catching a movie that's fresh and unpredictable.

Probably Kaufman's Best
Surprising enough, given the inclinations of his doppelgangers in the films he has written, I think Charlie Kaufman truly understands love. This is, in fact, quite obvious upon watching Eternal Sunshine of the Spotless Mind.

In the first scene, we see Joel Barish (Jim Carrey) skip work impulsively and take a Long Island train to Montauk. There he sees Clementine Kruczynski (Kate Winslet) and they have a cute, though uncomfortable, meeting scene. But in a Kaufman film, nothing is as it seems, and we soon realize that this is not the first time Joel and Clementine have met. In fact, they have just ended an unhappy love affair and chosen to have each other erased from their memories.

This is only the first time switch that we will be presented with. But the beauty of Eternal Sunshine of the Spotless Mind is that the film is not hard to follow. The memory-erasing process is not remotely science-fiction in its presentation and is explained within the context of the story. Dr. Howard Mierzwiak (Tom Wilkinson) operates Lacuna, Inc. with help from eraser Stan (Mark Ruffalo), his girlfriend Mary (Kirsten Dunst) the receptionist, and co-eraser Patrick (Elijah Wood). When Joel discovers through a friend that Clementine has had him erased, he vindictively goes to do the same, but then realizes--right in the middle of the process--that perhaps even bad memories are better than no memories at all.

I'm always very impressed by films that use special effects to enhance the storyline instead of substituting for it. The scene in Amelie where she melts is a perfect example. Eternal Sunshine of the Spotless Mind is the same way. While Joel is having his memory erased, we are taken through scenes from his and Clementine's relationship and we watch as the memory is erased bit by bit. One scene in a bookstore is particularly effective as the titles on the books begin to fade until the shelves are filled with white. In other scenes, people's faces will turn unrecognizable, giving the whole thing an eerie effect.

Charlie Kaufman is undoubtedly one of the more original screenwriters Hollywood has working today. So far, the four films (not including Confessions of a Dangerous Mind) he has released have been directed by only two different directors--Spike Jonze and Michel Gondry--and they both began by directing music videos. I think this is an example of the kind of cinematic vision that it takes to interpret Kaufman's work. Michel Gondry directs Eternal Sunshine of the Spotless Mind with a sure eye for the material, something that was missing from their previous collaboration, Human Nature.

The cast is uniformly excellent. Jim Carrey loses his usual antics entirely, even when playing a four-year-old version of himself. I hope he has stopped "trying" to win an Academy Award, because this may be the year he takes it. Kate Winslet is a little out of her element as Clementine but she pulls it off wonderfully by just letting the script tell her what to do. Kirsten Dunst is becoming the go-to girl for fully ripe portrayals--she uses her body to its best advantage (there is a long scene where she is only wearing a T-shirt and panties), but as long as it's okay with her, it's okay with me. And it is really quite a relief to see Elijah Wood playing a decidedly non-heroic role. I had not seen Mark Ruffalo before--though I heard a lot about his work in You Can Count on Me--but he is truly solid, even a standout among this stellar cast.

I've had to hold back on the description of Eternal Sunshine of the Spotless Mind because a lot of the joy is in discovery and going along in the story with the characters. But, by all means, you must see it. It is Kaufman's best film yet--it may be his masterpiece, and I really liked Adaptation. If he continues to improve as he has been, we are really in for a show ten or twenty years down the road.

Disappointed
I was really expecting this movie to be great from all the hype, and it was anything but that. I really was upset for wasting my time watching the movie. I would definately not recommend this movie to anyone. I really did not enjoy this movie.

Easiest Charlie Kaufmann piece to enjoy
I wasn't sure what to think the first time I saw Being John Malkovich, I didn't dislike it but I didn't like it either. It certainly kept me interested throughout as a concept, very very bizarre. I read Susan Orlean's The Orchid thief and was interested to see Adaptation which was equally bizarre but easier to get into. I didn't know what to think about Eternal Sunshine when I saw the previews but I knew I had to see it, and to this point in 2004 it is bar none my favorite movie. The plot line is intense and interesting througout never allowing you to feel comfortable until the credits start to roll. Extremely well acted and layed out, the cinematography is first rate. Characterization in this film is different from his other works because the majority of moviegoers can relate to the feelings and predicament Jim Carrey's character ends up in.

Haunts the memory
I honestly don't know where to begin when describing this movie. Is it a comedy? Is it a drama? A love story? A strange trip? Quite simply yes it is. And at the same time it's one of the most original movies of the past five years that aren't obscure fare that 10 people see and declare it life changing.

The story is an everyman/everywoman story of love, loss, redemption, and memory. We've all had relationships we say we want to forget forever when they're finished, forget all the bad times that led to the loss of the relationship. This movie perfectly captures that you may want to forget all the bad things but then you'd lose everything else you found along the way.

Usually when I see a movie, even a good one, I walk out of the theatre and within half an hour I remember the basics of it, the funny lines, the epic battle scenes. But when I walked away from this movie it stayed with me for days. I would hear a song and equate it to the movie (btw "I Am Trying To Break Your Heart" by Wilco is dead on to the movie), watch something on television and find something from the movie. The last line of the memory erase gave me chills. I've rambled enough. If you like great movies buy this the day it comes out, I know I will, it comes out the day before my birthday so a birthday present for me. ... Read more

Description

Brenda (Virginia Madsen, Candyman, Dune) and Scott Kniffen (Jeffrey Nordling, TVs "Once and Again") are accused of child molestation and physical abuse. Without a shred of evidence, the authorities arrest them and take their two young sons into protective custody. The boys are lead to believe that if they give the "right" testimony, they will be returned to their parents. Through relentless badgering, the impressionable children are coerced into testifying against their parents. After an agonizing nine-month trial