It's a Jolly Holiday With Cameron, Kate, Jude and Jack

A couple years ago, I read Tara Road, a book by Irish author Maeve Binchy about a pair of middle-aged women, one from Ireland and one from America, who find themselves in the midst of personal crises and spontaneously decide to swap houses for the month. The premise of last year's The Holiday, starring Cameron Diaz, Kate Winslet, Jude Law and Jack Black, is similar enough that I immediately thought of the book when I saw the trailers, even wondering briefly if this was an adaptation of that novel. It's not - and actually that book has been made into a film of the same name, though it wasn't released in American theaters. But the basic idea is that two women in their late twenties or early thirties, one from America and one from England, switch homes for two weeks, during which they try to escape from the misery of two failed relationships, little knowing that far better romances await them in their new surroundings.

The American is fabulously rich but emotionally empty Amanda (Diaz). She makes her millions in L.A. producing movie trailers and is so wrapped up in her work that wherever she goes, she hears the distinct, rumbling tones of renowned movie trailer narrator Hal Douglas, offering cinematic commentary on the story of her life. After her latest break-up with a putz who cheats on her and blames it on her workaholism, Amanda, disturbed that she can't muster a single tear for her sad situation, decides she needs a vacation.

A Google search leads her to Iris (Winslet), a lowly journalist in Surrey who listed her charming cottage in the middle of nowhere on a home exchange site. The timing couldn't be better, since Iris has just learned that Jasper (Rufus Sewell), the rakish co-worker with whom she's been smitten for the past three years, has gotten engaged and never bothered to tell her; in fact, moments before the engagement was announced at the office Christmas party, he was busy flirting with her, inspiring hope that their on-again, off-again relationship might be headed in a positive direction. Now she just wants to get away from him.

It's perhaps a little too convenient how easily these women with sordid romantic pasts stumble upon the men of their dreams, but such is the stuff of Hollywood, and anyway, profound relationships can develop quickly when people are thrown into unfamiliar circumstances. Amanda meets Graham (Law), Iris's brother, when he comes pounding on her door in the middle of the night a scant six hours after her traumatic arrival, drunkenly demanding a bathroom and a place to crash for the night. Equally startled at the sight of each other, both are stricken with an immediate attraction that leads them to plunge recklessly into what both believe will be a one-night stand.

For Iris, the process is more gradual. Her first introduction to Miles (Black), a film composer and acquaintance of Amanda, is brief and awkward, and they don't meet again for a few days, by which point Iris has managed to establish a firm friendship with Amanda's 90-year-old neighbor, feisty screenwriting legend Arthur Abbott (Eli Wallach). Her kinship with Miles develops as an outgrowth of that, and as he already has a girlfriend, they enjoy one another's company but don't outwardly acknowledge any romantic attraction; the kisses Miles plants on her cheek seem more indicative of an old-fashioned gentility than an attempt to woo her. But when Miles learns his darling Maggie (Shannyn Sassamon), supposedly out of state working on a movie, has been back in town for days and shacking up with another man, the game changes a bit...

Although I was rather put off by the way Amanda and Graham's relationship turns physical minutes after meeting each other, there's an undeniable sweetness to the way it progresses from there. In another actor's hands, our first impression could be that Graham is little better than a lecherous drunk. But the devilishly handsome Law is so irresistible in the role, his indiscretions are swiftly forgiven, particularly since it is technically Amanda who puts the moves on him. Though he professes to be a love-'em-and-leave-'em kind of guy, his actions speak louder than words; he shows himself to be gentlemanly, sincere and vulnerable in scene after scene, and even when we learn he has been keeping a major aspect of his life from Amanda, the motivation behind his secrecy only makes him more endearing. The high-maintenance Amanda is the least charming of the main foursome, but she's still quite likable, especially toward the end of the movie.

I'm used to seeing Black in schlub-finds-redemption roles; he always seems to turn out a decent guy, even if those tendencies are a bit buried. Here, he's surprisingly mellow, and his character is both accomplished and courteous, the perfect antidote to the roguish, manipulative Jasper. Black and Winslet don't get nearly as much screen time together as Diaz and Law do, since half of Iris's scenes are focused on the mutually mentorly relationship she develops with Arthur, who reluctantly agrees to appear at an event in his honor after considerable nudging by his new friend. I tend to find many of Winslet's characters a tad abrasive, but Iris is entirely sympathetic, her consideration and respect for Arthur and her easy camaraderie with Miles proving that she does indeed deserve to be the "leading lady" rather than the "best friend", as Arthur observes.

He makes other observations throughout the film as well that constitute a running commentary on the way Hollywood has changed over the years; there's quite a bit of sly self-reference as well, as when he refers to the moment when Iris offers him a lift home as a "meet-cute". With Arthur, Miles and Amanda all deeply involved in some aspect of the film-making process, these sorts of references slip out often, along with amusing cameos from Lindsay Lohan, James Franco and Dustin Hoffman. This is a movie that doesn't allow us to forget it's a movie.

There are a few somewhat shaky plots points to consider. The women switch houses with one day's notice, which seems an awfully short time in which to make arrangements for such a trip. I guess there really are no arrangements; they just pick up and leave with minimal luggage, notifying few people of their plans. Iris even leaves behind her dog, and it's not too clear whether she mentioned this to Amanda. When she first arrives, Amanda is forced to trudge through the snow in high heels because the cab driver refuses to chug down that narrow country road and risk getting stuck, but at the end, the same driver pulls up to the cottage and turns around without protest halfway down the road at Amanda's request. I'd like to think he felt badly about giving Amanda such a crummy first impression of England, but it does seem like slightly inconsistent characterization.

While this is more a stylistic issue than a plot point, I found it strange that the film begins with a voiceover by Iris, but she doesn't provide narration at any other point in the film. I might say it's a nod to her deciding to take the leading lady role, but the narration seems to be rooted in the moment of the Christmas party, at which point she is still feeling very much on the sidelines. Most problematically, while we're offered a blissful final scene that screams happy Hollywood ending, we're not given any solid solution to the problem that has plagued these romances from the beginning - that is, the fact that all four people have considerable commitments which happen to be rooted half a world away from their newfound loves.

But that's a problem for another movie. For this one, the ending is sufficient, leaving us feeling warm and fuzzy, happy it all worked out so nicely for these folks, if only until the credits roll.

Cold Mountain Displays Strength of Spirit in the Face of Cold-Heartedness

Although I had a great desire to see Cold Mountain when it arrived in theaters at the tail end of last year, I suspected that this was a film I would be better off seeing in the comfort of a living room with an eye-shielding pillow handy. I expected the Civil War epic to contain several long and bloody battle scenes that might even require me to leave the room. So I was pleased to discover when I watched it last week that epic battles weren’t something I would have to worry about. My pillow did not lie idle, however; the violence in this movie remains, but it comes out in staccatos, displaying the enmity to be found among those who were supposed to be on the same side of the conflict.

Nicole Kidman stars as Ada Monroe, the pampered daughter of a minister (Donald Sutherland) who moves from socialite Charleston to the backwoods Cold Mountain in hopes that the fresh air will do his ailing heart some good. They settle in comfortably for a brief time before the beginning of the war, and during this interval Ada makes the acquaintance of Inman (Jude Law), a gentle man of quiet intensity. Though they hardly know one another at the time of their separation, the thought of reuniting sustains them both through the myriad trials that follow.

When Ada’s father succumbs to a heart attack, she is left alone with a lush estate but no money or skills to sustain it. She is reminiscent of Shannon, her character in Far and Away, in her ineptitude when it comes to dealing with everyday tasks, but she is kinder and less fiery than Shannon was at the beginning of the film. She doesn’t want to be spoiled, she’s just never had the opportunity to learn anything that would come in handy during such a trying time. Her kindly neighbor Sally (Kathy Baker) realizes this and sends help in the form of Ruby (Renee Zellweger), a tough-talking tomboy with enough spirit to rouse Ada out of her debilitating depression. Tending the farm turns out to be the least of their worries, however, as vigilante Teague (Ray Winstone) and his cronies terrorize the townspeople in their search for deserters and their helpers.

Meanwhile, after receiving an injury in battle, Inman decides to head back to Cold Mountain, moving from one life-threatening situation to another. He takes up with a series of characters upon whom war has also taken a great toll: Reverend Veasey (Philip Seymour Hoffman), an adulterous pastor with far less integrity than Inman; Maddy (Eileen Atkins), an elderly woman who takes Inman in after discovering him badly hurt; and Sara (Natalie Portman), a fierce and lovely young widow who gives Inman shelter for the night and is rewarded with his aid when Yankees strike her home.

The film follows the two main characters’ parallel storylines. The first we hear of Ada is in a letter Inman receives from her just before battle. Her story backtracks to the moment of her arrival in Cold Mountain, and it takes a while to catch up. Once it does, though, she faces as much danger in the comfort of her own home as Inman does on the run. This film does show the cruelty of war, but on a more personal level. It shows ordinary people trying desperately to survive – men trying to find their way home in spite of the brutally enforced mandates against desertion, women trying to fill the men’s shoes in their absence as food grows scarce and villainy abounds. Time and again, cold-hearted individuals go out of their way to destroy the lives of the decent folks in the film, and more often than not the perpetrators are Confederates just like the victims. The violence in the movie is no less traumatic for its brevity, and perhaps even more shocking.

Kidman again shows her acting chops in this film and demonstrates that she works especially well in period pieces. Law, meanwhile, manages to pull off an incredibly powerful performance with hardly any words at all. His goodness and strength shine through his grimy surroundings, and when he does open his mouth to speak, the words are always worthwhile. I confess that I usually can’t stand Zellweger, but her spunky character is probably the most enjoyable in the film and certainly provides a great deal of needed levity. Baker brings a blend of motherly warmth and sorrow to her portrayal of Sally; Sutherland, in his brief time on the screen, is a benevolent presence bringing great insight into the character of Ada. Other notables include Charlie Hunnam as Bosie, the villainous young man who gleefully hunts down deserters and those sympathetic to them, and Brendan Gleeson as Stobrad Thewes, Ruby’s vagabond fiddle-playing father.

Speaking of fiddles, the film’s soundtrack is lovely, featuring a great deal of folk music and many Celtic-tinged melodies reflecting the beauty of the land and the sorrow of the situation. Cold Mountain is hardly an uplifting movie. In fact, I would call it quite depressing. But it does show the strength of the human spirit in the darkest of times, and the dedication of the cast makes it a film worth investing nearly three hours in.

Almost Human: Space-Age Pinocchio Seeks Humanity

From the moment I heard of A.I., I wanted to see it. Science fiction - about a robot, no less. I used to spend hours dreaming of building my own robot, and I even tried to start the project a few times before realizing that this was something way beyond my grasp. There is something very intriguing about the idea of an artificially created being wishing to be real. Short Circuit remains one of my all-time favorite comedies, and Data was always my favorite character in Star Trek: The Next Generation. Robots have always fascinated me. There was also Steven Spielberg. I don't like all Spielberg movies - I hated Saving Private Ryan - but usually they have a great deal of heart and ultimately leave me feeling good. But the main reason for wanting to see A.I. was, I'll admit it, Haley Joel Osment. I finally have an answer to that "Who's your favorite actor?" question, and I can't wait to see what he does in the future. I'm hooked on this guy for life.

So, I was determined to see A.I., even though I heard bad things about it from all directions. I intended to see it in the theater, but it came while I was out of the country. So when I returned, I awaited its arrival in the dollar theater. It came, and my friend and I said we would go see it that week. That was the second week of September, and it never happened. I think perhaps it is good that I did not see it at that time. As much as I wanted to see Castaway, when I found out I was going to England I did not want to watch it until I had arrived safely home. I had no such forewarning about A.I., but if I had seen this film on September 9th or 10th, I think it would have driven me over the edge. Watching it now was eerie enough.

The movie is a joint project of Steven Spielberg and the late Stanley Kubrick, the far less warm and fuzzy director of 2001 and Dr. Strangelove fame. Based on the short story Supertoys Last All Summer Long, it takes place sometimes in the future, after global warming has caused the icecaps to melt and flood many of the world?s major cities. In order to accommodate the needs of a new age, the leading scientists create androids who appear fully human but cannot feel emotion. This changes with the creation of David, an android in the form of a child programmed to love. David is given to a couple, Monica (Frances O'Connor) and Henry (Sam Robards), whose son Martin (Jake Thomas) is in a cryogenic coma while doctors seek a cure for his medical condition. By speaking a series of seven words, Monica imprints herself upon David, causing him to take on the eternal mantra of I Only Have Eyes for You, a song repeated several times throughout the film in another context.

David's obsession with his mother makes him a prime candidate for the Oedipus complex, as do his interactions with Henry and Martin, who recovers from his mysterious disease. I was reminded of Harry Potter briefly, between David's being locked in the closet at one point and the dreadful treatment given him by his "brother." At any rate, David becomes the outsider shortly after Martin's return, and Monica feels forced to dispose of this monster she helped to create. Releasing him into the woods with Teddy (Jack Angel), Martin's outdated supertoy that is reminiscent of Teddy Ruxpin, Monica makes David, a "mecha," promise to avoid people, who are "orga." David is left crestfallen but determined to win his mother's love by seeking out the Blue Fairy and asking to become a real boy.

The journey is dark and depressing, and his only friends throughout most of the journey are the wizened Teddy and Gigolo Joe (Jude Law), a quirky character programmed to be a lady-killer. Others pass through momentarily, including a robot nanny (Clara Bellar), a human child (the little girl from the Disney Scrabble commercial) and the Einstein-like hologram Dr. Know (Robin Williams sounding a lot like his earlier Genie). A cozy-sounding narrator (Ben Kingsley) whose voice begins and ends the movie provides a fairy-tale context, albeit a very dark one.

Osment is haunting as David, turning in a performance no less fine than I expected. He is passionate, he is tormented, and yet he is clearly mechanical. A very unnerving characterization. The other character I most enjoyed was Teddy, the gruff but gentle companion of David throughout the journey. Gigolo Joe was slightly off-putting at first but ultimately I found him pretty entertaining, and the trick he has of providing ambiance is quite nifty. I also enjoyed the manic Dr. Know. But that was about it.

The other characters did not move me, not even Monica. She annoyed me, actually. Something about her did not seem right, did not seem real. She failed to move me, and her dialogue was at times dreadful. (Example: Upon being told by her husband that she must be sure before she lets David imprint on her, she says, "Silly man, of course I'm not sure." Silly man?? Give me a break.) David seemed to show more emotion than she did, and when she did it seemed forced. I just could not bring myself to care about her. Her husband Henry comes across as wishy-washy, stupid, and mean-spirited. Above all, he seems extremely selfish. Her sadistic son Martin is a horror, as are his friends. The birthday party scene reminds me a lot of the party scene from The Sixth Sense. Haley definitely carries the day, and more than anything he is disconcerting.

This movie was no E.T. My dad complained because of the lack of dialogue. This was one of his major complaints with E.T., and he felt that A.I. also failed to have enough talking. This time, John Williams' score did not seem to annoy him as much, however. He thought the music in E.T. to be sickeningly saccharine. I never saw the sparseness of speech to be a problem for the former, so it didn't really bother me in the latter, either. A friend of mine forewarned me that while he thought the movie was pretty good up to a point, the ending spoiled the social commentary. If he was able to make enough sense out of this movie to see a social commentary and to tell that the ending shattered it, I salute him. I was never entirely sure what was going on and how I was supposed to feel about it. It definitely did not make me feel good like E.T. did. In fact, it sent cold shivers down my spine on a number of occasions.

One painfully long scene in the film involves David's being captured and taken to a Flesh Fair, a ghastly gladiator-like spectacle with the motto "a celebration of life." Androids are rounded up for these events and tortured in the arena before a bloodthirsty mob in the stands. It was a horrifying sight reminding me of the gruesome garage in The Brave Little Toaster. That movie still gives me the willies... The Flesh Fair provides nightmare material for a week, and it's not the only disturbing part of this movie. It's dark and depressing at every turn, and its extended ending (my friend also pointed out, and I definitely agree, that the movie felt like it should have ended about 20 minutes before it did) did nothing to salvage the warm and fuzzy feeling I was hoping to get. It left me dazed, disoriented, and down in the doldrums.

Add to that the scenes of a Manhattan flattened by floods, with just Lady Liberty's arm rising above the waves and the Twin Towers lording over the ruined city. New York City virtually destroyed. And, at one point, David leaping from the top of a building, and a shot of him plummeting to the waters below in a scene that looked far too much like those scenes of the WTC jumpers for comfort. It was all a little too eerie for me to say that I enjoyed the movie very much.

And yet, perhaps that sense of eeriness is what was intended. Though A.I. did not give me the reaction I had hoped for, it did produce a strong visceral reaction. Strange pairing that it was, the film made excellent use of Osment's talents and the available technology to give a glimpse of a possible future. And so I cautiously commend it and award it four stars. But it leaves me uneasy and hoping that Gene Roddenberry's vision of the future was more accurate than this. Please, Lord, tell me this is not where we are headed!