There are a couple of noticeable trends this week, one of which is plainly obvious from the titles listed below. There are a lot of “and” pictures being released today, movies that attempt to use the bifurcating connective word as indicative of dichotomy, difference or dynamic. Unfortunately, they all don’t share a singular cinematic value. The other fad is more mercantile, and isn’t noticeable until you dig down deeper into the overall product list proper. For example, 8 May will see the release of a Dirty Dancing 20th Anniversary Special Edition, a Donnie Brasco Extended Version, and of all things, a director’s cut of Tom Hank’s That Thing You Do. Sure, this is all part of the notorious double dip, but the tactic here is also a little more subversive. By cleaning up the cutting room floor and affixing deleted content back into the print, the studio can claim it’s new and work their way into your wallet once again. So tread softly and choose wisely this tricky Tuesday – at least when considering anything other than our rock solid SE&L pick:
Deliver Us From Evil
It’s a shame that the situation with pedophilia and the priesthood has been reduced to a running gag amongst your bottom feeding stand-up comics. But the real crime remains in just how clandestine and conspiratorial the Church was in keeping these abominations from parishioners and potential underage targets. Case in point – Fr. Oliver O’Grady. At one time, he was a trusted and respected man of God. But deep down inside, he was a raging child rapist, a sick and twisted pervert who was a threat to all he came in contact with. Shockingly, he was protected, moved around from community to community to hide his horrible secret. As this scathing documentary indicates, organized religion thought it best to keep O’Grady safe, forgetting that the most important element here, the devastated victims, were the ones who really needed the help. Filmmaking doesn’t get any braver than this disturbing denouncement of everyone involved. Second only to An Inconvenient Truth
in uncovering true fact-based horrors.
Other Titles of Interest
Breaking and Entering
It was supposed to be his return to certified Oscar fare after the commercial hit The Talented Mr. Ripley
and the overblown dud Cold Mountain
. But The English Patient
‘s Anthony Minghella stumbled a bit with this class conscious offering about a London professional falling for an immigrant refugee. Based on his own screenplay, what could have been memorable ended up only middling.
Catch and Release
With what seems like unlimited commercial potential at her disposal, one has to wonder what made Jennifer Garner take on this quirky Indie romantic comedy. Must have been the chance to show her pure performance cred. First time filmmaker Susannah Grant (famed for writing Ever After
and Erin Brockovich
) even turned up the geek quotient by casting Kevin Smith as “the funny fat guy”. Audiences failed to respond.
David and Lisa
It has a premise that should only work in literary form (the film is based on a famous novel) – a young man afraid of being touched meets an equally unwell young woman who speaks in sing-song rhymes. Together, they try to forge a meaningful relationship. Thanks to the expressive performances by Kier Dullea and Janet Margolin, what could have been cloying has, instead, a fair amount of humanity. div>
Music and Lyrics
Hugh Grant as a washed up ‘80s pop star? Drew Barrymore as a plucky lyricist who’s employed as his new writing partner? Era appropriate originals by Fountain of Wayne hit maker Adam Schlesinger? How could this miss? Apparently, writer/director Marc Two Weeks Notice
Lawrence forgot to add anything fun…or memorable. Not even a Wham-esque Grant in full flashback mode was enough to save this stinker.
The Painted Veil
Representing the second period piece in a year for the otherwise thoroughly modern Edward Norton, this adaptation of the seminal W. Somerset Maugham book had a lot of healthy buzz come time for awards consideration. Then, for some inexplicable reason, it just vanished. The film has all the scope and splendor of a guaranteed critical hit, but somewhere between page and motion picture, it lost its way.
And Now for Something Completely Different
You’ve got to admire the marketing campaign currently running for this 1990 Tony Scott title. In big bold letters over a newly enhanced image of star Kevin Costner’s unshaved face, a quote from Quentin Tarantino proclaiming this movie as Scott’s “masterpiece”. It’s all but unavoidable. Whether or not this will mean anything significant to the QT contingency remains to be seen, but anyone who’s actually watched this romantic thriller gets the gist of what the Indie bad boy is talking about. Jim Harrison’s potboiler tome about infidelity and intrigue in the Mexican wilderness feels like a thick slice of South of the Border Gothic, and Scott’s stylized approach to narrative gives everything a slick, glossy glow. Costner is very good, as are the late Anthony Quinn and a radiant Madeline Stowe. While it has guilty pleasure written all over it, there is some seriously satisfying high drama to be found amongst the camp.