This movie was a big disappointment. First, it was billed as a suspense, but it wasn't very suspenseful or even interesting (I found I really didn't care that much who killed the dead woman). Second, the film is probably only appealing to those who don't mind a lot of foul language, or sex between characters who try to choke and/or insult each other. Third, elements of it were highly improbable (are murderers really that cavalier about their crimes being discovered?). I admit I switched back and forth to other programs while watching this film on TV, but it was still too long a viewing. Even Kelly McGillis couldn't save it.
Reviews
8 Reviews
The Last Just Man
(2002)
very moving documentary
25 September 2004
I'd recommend this film to anyone. It was easily one of the most moving documentaries I've seen, portraying the failure of the UN and Western nations to act in Rwanda to prevent the 1994 genocide, and the impotence felt by Canadian Lieutenant-General Romeo Dallaire, who was stationed there at the time. (Lt.-Gen.
Dallaire, now retired, is "The Last Just Man" of the title.) View this film to get an idea of what we fail to do for third-world nations, despite the Western troops stationed all over the world. It may be particularly timely today in light of other conflicts, notably the one in Sudan.
Dallaire, now retired, is "The Last Just Man" of the title.) View this film to get an idea of what we fail to do for third-world nations, despite the Western troops stationed all over the world. It may be particularly timely today in light of other conflicts, notably the one in Sudan.
Something to Talk About
(1995)
Delightful film
17 April 2004
This is a delightful film about a Southern belle, Grace King Bichon
(Julia Roberts), who chafes under the domination of her
brook-no-dissent father, and is cheated on by her husband. Grace
works for her father on his horse farm, and her suppressed
resentment of his iron rule has likely helped derail her marriage to
Eddie. In any event, the film is ultimately about the love and
strength of family relationships and the power of forgiveness, as
well as finding one's own path in life. All actors turn in great
performances: Julia Roberts as the heroine and wronged wife;
Robert Duvall as the family patriarch; Gena Rowlands as the
beautiful and devoted spouse and mother; and Kyra Sedgwick as
the transgressive sister. Dennis Quaid as Grace's philandering
husband is very appealing, so it's hard not to be rooting for he and
Grace to reconcile. Finally, good cinematography and a portrait of
gracious Southern living make this film an enjoyable view.
(Julia Roberts), who chafes under the domination of her
brook-no-dissent father, and is cheated on by her husband. Grace
works for her father on his horse farm, and her suppressed
resentment of his iron rule has likely helped derail her marriage to
Eddie. In any event, the film is ultimately about the love and
strength of family relationships and the power of forgiveness, as
well as finding one's own path in life. All actors turn in great
performances: Julia Roberts as the heroine and wronged wife;
Robert Duvall as the family patriarch; Gena Rowlands as the
beautiful and devoted spouse and mother; and Kyra Sedgwick as
the transgressive sister. Dennis Quaid as Grace's philandering
husband is very appealing, so it's hard not to be rooting for he and
Grace to reconcile. Finally, good cinematography and a portrait of
gracious Southern living make this film an enjoyable view.
The Last Just Man
(2002)
very poignant
24 October 2003
Viewers may find it hard to make it through this film dry-eyed. It's a poignant account of the attempts of one man -- Canadian Lt.-Gen. Romeo Dallaire (now retired) -- to avert the genocide that occurred in Rwanda in 1994. The UN failed Rwanda; Lt.-Gen. Dallaire is "the last just man" of the film, which captures admirably the inability -- or unwillingness -- of the world community to act to avert tragedy.
The Magdalene Sisters
(2002)
A little overwrought!
29 July 2003
This film would have benefited from a considerably lighter hand.
From the first quarter-hour of the film, I couldn't imagine it getting
much bleaker, but it did. The Magdalene laundries must have
been grim places to work, and to be held captive in -- until 1955,
families weren't allowed to remove their own daughters, etc. -- but I
wondered if every Irish Catholic nun during that era (1960s) was
really the meanest and most sadistic creature on earth. I also
found it misleading to be presented with biographical "data" on
four of the women near the film's end, only to read in the credits
that all the characters were completely fictitious. (Is this a legal
obfuscation?)
From the first quarter-hour of the film, I couldn't imagine it getting
much bleaker, but it did. The Magdalene laundries must have
been grim places to work, and to be held captive in -- until 1955,
families weren't allowed to remove their own daughters, etc. -- but I
wondered if every Irish Catholic nun during that era (1960s) was
really the meanest and most sadistic creature on earth. I also
found it misleading to be presented with biographical "data" on
four of the women near the film's end, only to read in the credits
that all the characters were completely fictitious. (Is this a legal
obfuscation?)
Father of the Bride Part II
(1995)
A nice, feel-good movie, though you have to suspend credulity
27 June 2003
I enjoyed this film, as I did Father of the Bride (1991), though I had to suspend my credulity a lot. This film was less realistic than the film it was based on, Father's Little Dividend (1951), with Spencer Tracy and Elizabeth Taylor. For example, it's unlikely that George Banks, a highly successful business owner who obviously must think through his decisions, would be so impetuous as to sell the house he loves and end up having to buy it back at a significant mark-up. (George and Nina decide to sell following a rainstorm that caused their kitchen ceiling to leak, even though the house had two storeys above it.) The new baby *wing* which the Banks then decide to build on to their repurchased home is equally ridiculous, since the house is already huge and only young son Matty is still at home. Between the ill-conceived house sale and repurchase, the posh baby wing and the lavish baby shower, featuring storks flown in from Austria, I don't think George Banks could possibly have spent more money. In the previous film, Father of the Bride (1991), Bryan's parents were portrayed as wealthy, but George is clearly a millionaire himself. I did enjoy this movie -- it's funny, romantic and very warm, with beautiful sets -- but I would have preferred a little less over-the-top consumerism.
Household Saints
(1993)
See it!
22 October 2002
I was so impressed by this film when I saw it at the Festival of Festivals (now the Toronto International Film Festival) in 1993 that I went home without seeing anything else. I would recommend it to any spiritual person. The film's saint is Saint Therese of Lisieux, who once said "What matters in life is not great deeds, but great love." After her death, she promised to "let fall a shower of roses," which is pivotal in the film. I really recommend it. A wonderful work by an American director.
Samurai Swing
(1999)
Short and sweet film about a father-son relationship
7 April 2002
This is a short, sweet film about a father-son relationship in small-town Alberta, at the Samurai Cafe. Tim, the son and apparently only child, dreams of becoming a lounge singer and doesn't have much interest in working at the restaurant, founded by his Japanese grandfather. His father is disturbed by Tim's attitude, reminding him how Tim's grandfather had started the restaurant from nothing and worked hard to make it a success. (We can assume the grandfather had lost everything during the Second World War, when Japanese-Canadians were interned and their property confiscated).
Samurai Swing has a satisfying conclusion, and is well worth viewing for its glimpse of small-town prairie life and the sensitivity with which it approaches the generational differences and expectations in this parent-child relationship.
Samurai Swing has a satisfying conclusion, and is well worth viewing for its glimpse of small-town prairie life and the sensitivity with which it approaches the generational differences and expectations in this parent-child relationship.
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