Monday, June 9, 2008

11-M

Author(s): T.D. (TX)
11-M

Directed by Alejandro González Iñárritu
Written by Guillermo Arriaga
Produced by Alejandro González Iñárritu, Steve Golin, and Jon Kilik
Distributed by Focus Features
Cinematography by Rodrigo Prieto
Editing by Stephen Mirrione
Music by Gustavo Santaolalla

Main Cast

Sergi López as Enrique Carrión
Belén Rueda as Rosalinda Carrión
Benicio Del Toro as Luis Garza
Ivana Baquero as Abril Santos

Tagline: “They never knew March 11 was going to be their life changing day.”

Synopsis: On March 11, 2004, a tragic event had occurred in the city of Madrid , Spain . From 7:30 to 8:00 a.m., a series of coordinated bombings took place against the commuter train systems, and the bombings killed 191 people and wounded 1,755. Of the many wounded in the incident, four survivors were at the station during the explosions, and they all loose someone close to them in the explosions. The four individuals are:

-Enrique and Rosalinda Carrión. Enrique is a diplomat working in the American embassy, and his wife Rosalinda is a teacher at the university where their two daughters Ana and Carmen are attending. The family was on their way to work or school by traveling on the commuter trains. While on the train, the daughters notice some cute guys in the other train car, and they decided to go talk to them. Enrique and Rosalinda looked for them once they got off, but they didn’t see them and assume that they were still on the train. The doors close, and the train starts to leave the station. Soon, an explosion occurs, and both Enrique and Rosalinda fall to the ground and black out.

-Luis Garza. Luis is a tourist from Puerto Rico visiting Spain with his fiancée Maria. The two were touring the city that early morning, and when they grew tired of walking around they decided to take the commuter trains back to the hotel. The two got on, and during the train ride Maria told Luis that she is enjoying the trip and can’t wait to get back to Puerto Rico to marry him. The train stops, and the couple exits the train, but Maria stops and tells Luis she forgot the traveling bag on the train. She gets back on, and the doors close. Luis runs up and tries to open the door, but the train starts moving. Soon, an explosion occurs, and Luis falls to the ground and black out.

-Abril Santos. Abril is a quiet girl who lives with her mother. Her mother is the only person she has in her life, and she would never leave her side. Her mother was taking her to school that morning, and since the taxi cabs were full she told Abril that they’re going to take the train. Abril dislike riding the trains, but she had no choice but to go along with her. While on the train, her mother had to use the bathroom and leaves her. When the train stopped Abril notices the candy stand outside and got off. Her mother, who was looking for her, stood at the door and told her to hurry up and get back on. As Abril took her time walking back, the doors close and she runs to the doors and tries to open it, but the train starts moving. Soon, an explosion occurs, and Abril falls to the ground and black out.

A few hours after the attacks, the four were rushed to the hospital for treatment. They woke up that evening to find themselves in the crowded hospital filled with other wounded people. The next day, the police came to their rooms and told them that their love ones were killed in the explosions, and from that very moment their lives were going to change forever over a course of three days as they try to cope with their lost.

What the press would say:

Alejandro González Iñárritu, the acclaimed director of “Amores Perros”, “21 Grams”, and “Babel”, returns to the big screen with his new film “11-M”, a Spanish-speaking multiple story drama about the famous terrorist attacks that took place in Spain on March 11, and the individuals who survived the attacks but lost their love ones. Iñárritu teams up with longtime friend Guillermo Arriaga, who wrote his previous films. Arriaga’s script is compelling and heartbreaking, and it’s a piece of work that’ll be remembered throughout the rest of the month. Sergi López leads an all-star cast as Enrique Carrión, a diplomat who loses his two daughters to the explosions in the train station. López brings this brash but compassionate character to life as he plays a man who neglects his wife and only wishes to find the men responsible for killing his daughters. Not only was he the star of the film, but so was his co-star Belén Rueda, who plays Enrique’s wife Rosalinda. Rueda delivers an amazing performance as the loving wife who becomes neglected by her husband and questions her faith and existence in God after losing her daughters, thus leading to a tragic suicidal death. Leading the supporting cast is none other than Academy Award winning actor Benicio Del Toro, who delivers yet another moving performance as Luis Garza, a once joyful and appreciated man who was engaged to Maria, the love of his life. Del Toro is wonderful in every scene he’s in as he plays a man suffering through the lost of his fiancée but manages to cope with the lost after praying for strength and guidance from God and moves on at the end of the film. Rounding up the stellar cast is none other than the rising star Ivana Baquero, who plays the young school student Abril Santos. Abril is a quiet yet spoil girl who’d always depend on her mother to be there for her. However, she never knew that her mother was going to leave her for good that day. Baquero is by far the best in the film, and delivers an outstanding performance as her character is put into a foster home when no relative claims her and must live her life without anyone to care for her in the orphanage. Overall, “11-M” is a moving and extraordinary film that is bound to become a masterpiece in the eyes of critics and audiences come May and a classic throughout the year.

For Your Consideration

Best Picture
Best Foreign Language Film
Best Director – Alejandro González Iñárritu
Best Actor in a Leading Role – Sergi López
Best Actress in a Leading Role – Belén Rueda
Best Actor in a Supporting Role – Benicio Del Toro
Best Actress in a Supporting Role – Ivana Baquero
Best Original Screenplay

Angela's Path

Author(s): Harry (Colombia) & Stefano (Italy)
Angela's Path

Distributed by: Miramax Pictures
Directed by: Jane Campion
Written by: Jane Campion and Ronald Harwood
Original Score by: Dario Marianelli
Cinematography by: Bruno Delbonnel
Production Design by: Anna Asp
Costume Design by: Jacqueline Durran
Film editing by: Hervé de Luze
Produced by: Jane Campion and Jan Chapman

Main Cast

Penélope Cruz (Angela)
Catherine Deneuve (Geneviève)
Sebastian Koch (Jorgen)
Virginie Ledoyen (Pierrette)

Tagline: She encountered desperation. She followed her path. She would never forget her story.

Synopsis: “Emotions. There are some that make us want to live, and to continue following our paths. There are others that, because of harsh consequences, go right into our most profound sensibility, making us feel desperation. I always tried to give up, but I learned that life must continue, that we must follow our paths to find a light at the end of the tunnel. I encountered happiness, but I could never forget what once was my story…” – Angela

1914. A train stops at the central station of Paris : Angela arrives to the magical city of Paris . She is an optimistic and young woman from Barcelona , and she expects to become a famous writer. Angela is received in a Literature University , where she befriends many persons and develops a strong friendship with her classmate Pierrette, who is fascinated by Voltaire’s ideals of tolerance. Her landlady Geneviève, an older and experienced woman, becomes a maternal figure to Angela, the one that she lost when she was young. Angela is fascinated by a city with such diversity; she is full of life as she discovers the essence of Paris , a city rich of ideals and freedom of expression. Angela’s studies get better every time. That is until one day, when a bomb explodes in Angela’s university, destroying the building and the lives of many of her friends. World War I had begun.

As the war gets more intense, Angela witnesses the destruction of a city that she once saw as hope for her future. She had never been as sensible and desperate as now; she tries to seek a solution and escapes from Paris with her friend Pierrette. They are then separated by a bomb and Angela looks for someone; she meets a German soldier named Jorgen. He locks Angela in a room and asks her to listen to his story; Angela becomes a solitary woman, as she learns the sad life of Jorgen. He was a man who once believed in dialogue, but his parents didn’t have enough money to pay to the government so Jorgen had to go to war. It had been too much for him, as he saw the true misery of the world during hard times. Angela is very hungry and scared, and she begins to lose every hope about the future. Wanting to express her agony, she starts writing verses about her pain on the walls of the small room; she also writes poems about her strong dreams. One day, Jorgen enters into madness and goes into Angela’s room…

One night, Angela sees that her room isn’t locked. Jorgen had also disappeared. The war was over. She escapes; the next morning, Angela sees the light of day, as well as her freedom. Her happiness disappears as she sees Paris being devastated by the effects of war. She inevitably cries because of what became of her life and the city she once admired. The woman comes back home, where she finds her landlady Geneviève; she is still alive. Angela then learns that her friend Pierrette has been killed while she was working as a voluntary nurse in a military hospital; many emotions touch her fragility. Geneviève’s wisdom gives strength to Angela, and thanks to Geneviève’s wise encouragement the young woman finds a new reason to look on and to keep living her own life. Soon, Angela and Geneviève develop a strong relationship as they reconstruct the pieces of their broken lives. Angela begins to write a book about her journey during war; she calls it “Angela’s Path” and publishes the book one year after giving birth to her baby, the son she had from Jorgen.

What the press would say:

Emotions can be portrayed with intensity in cinema. Centering on one woman’s spiritual journey during the troubled times of World War I, “Angela’s Path” is a film of expression, crafted with vision by Australian filmmaker Jane Campion. “Path” is a motion picture that belongs to the same kind of female-centered movies of Campion’s productions of the past years. It is a film that possesses many aspects of European cinema such as emotions shown through images, atmosphere contrasts and a glimpse of hallucinatory surrealism through Angela’s exhaustive dreams. The touching screenplay, written by Campion and Ronald Harwood, explores the most profound aspects of a woman’s soul and brings the whole film to a strong level of sensibility, mixed with the romantic spirit of the great tradition of European literature.

Campion and the beautiful cinematography by Bruno Delbonnel pay big attention at colors and light tones. They create a magical Paris at the beginning of the film and transform it into a dark and depressive Paris as Angela faces war. They give an evocative atmosphere to the film that reminds expressionist European painting; while the wonderful score composed by Oscar winner Dario Marianelli gives a powerful contribution to the excellent production values of the film. Campion’s directing abilities are simply extraordinary. The picture is always restrained, making it feel more authentic and human. Her directing of actors is simply impeccable.

Penélope Cruz plays the role of the lead character, Angela, a sensitive Spanish girl who arrives in Paris to begin a new life and falls into the darkest abyss when her existence is totally upset by the tragedy of war. Angela’s figure, brilliantly played by Cruz at the top of her talent, is the movie’s emotional and narrative center, and the Spanish actress gives a tremendous transformation by completely becoming her character. Thanks to the expressive looks of her eyes in the dramatic moments of the film, Cruz really captures the most intimate essence of Angela, who goes through hope and joy and loneliness and desperation, until she finds a way to reconstruct her life and continues to follow her path.

The supporting cast of the film includes an amazing performance by screen legend Catherine Deneuve who shines in the role of Geneviève, Angela’s landlady, who becomes her close confident after the end of the war. Deneuve’s performance in the film is absolutely stunning, and the French actress gives life to a character that is at the same time authoritarian, tender, obstinate and protective; Geniviève is the representation of hope in the film and Deneuve demonstrates this in her emotional scenes with Angela. Sebastian Koch's performance as the German soldier Jorgen is very moving; he achieves to create some humanity in a person as evil as Jorgen. Jorgen is the coward of the film but also one of the most human characters, and Koch outdoes himself during his powerful conversations with Angela. Virginie Ledoyen is also excellent as Pierrette, a woman of tolerance.

For Your Consideration

Best Picture – Jane Campion and Jan Chapman
Best Directing – Jane Campion
Best Actress in a Leading Role – Penélope Cruz
Best Actor in a Supporting Role – Sebastian Koch
Best Actress in a Supporting Role – Catherine Deneuve
Best Actress in a Supporting Role – Virginie Ledoyen
Best Original Screenplay – Jane Campion and Ronald Harwood
As Well As Various Other Technical Categories

Ashes of Elmwood

Author(s): Brian (AZ)
Ashes of Elmwood

Directed by Sidney Lumet
Written by Brian Helgeland
Produced by Sidney Lumet, Sydney Pollack & Scott Rudin
Music by Carter Burwell

Main Cast

Don Cheadle (Sean Borland)
Ellen Burstyn (Elaine Elmwood)
Björk (Suzanne Elmwood)
Mira Sorvino (Kathleen Daemon)
Frank Langella (William Elmwood)
Phylicia Rashad (Caroline Borland)
Jim Caviezel (James Daemon)
Louis Gossett, Jr. (Oliver Borland)
Sally Kirkland (Jayne Pickford)

Tagline: “Loss Burns Eternal”

Synopsis:

25 years ago, Sean Borland was practically a third child for Elaine Elmwood. The son of her best friend and neighbor, Caroline, Sean would come over to Elaine’s house every day to play with her daughter, Suzanne, and to be babysat while Caroline and her husband, Oliver, were at work. When Suzanne and Sean were sixteen years of age, Elaine and her husband, William, were overjoyed to discover that the two were dating. This joy, however, would not last. When the young couple walked out of a date at the movies, Suzanne was abducted by an unidentified serial rapist. Sean witnessed this all, but was far too shocked and terrified to save his girlfriend. After a lengthy three-month investigation, Suzanne was presumed to be dead. Two years later, however, Suzanne was inexplicably found back on her mother and father’s doorstep. In a typical circumstance, this would mean overwhelming relief. However, it does not take long to notice that Suzanne was no longer herself. Not only was she covered in permanent scars and bruises, but she seemed to shudder at every moment—afraid of something; she would avoid people, and when she had to interact with another human, she would break down and scream. Most notably, however, she refused to speak a single word.

Their lives today are nothing like they were 25 years ago. Suzanne has been seeing psychoanalyst Jayne Pickford for years, and has made minimal, if any, progress. She still has not spoken since her return, and still attempts to avoid other people at all costs. Completely unable to support herself, Suzanne is still living with Elaine, who has since divorced William due to the stress of caring for their severely mentally disturbed daughter. William has virtually estranged himself from the family, and sees them only when he absolutely must. Caroline and Oliver still live next door, but Elaine has not said anything beyond “hi” to them since Suzanne’s disappearance. Elaine still faces intense grief, and blames Sean for not saving Suzanne when he had the opportunity. Because of the guilt Sean has suffered from since the incident, he became a Missing Persons Officer. Yet no matter how many lives he saves or abductors he captures, he simply cannot forgive himself.

This changes, however, on a seemingly normal Sunday morning. Elaine’s daughter, Kathleen, and her husband, James, awaken in their cozy suburban home unable to find their 11-year-old daughter, Christine. Grief stricken, Kathleen calls her mother and fears that their family is cursed. She reports the case to the Missing Persons Office, and one day later, the information about the case is on Sean Borland’s desk.

Sean informs his mother about the incident, and she firmly tells him that he must solve the case, so as to make repercussions with the Elmwoods, and because Kathleen is a member of the family she still holds dearly in her heart. Sean searches for over a month, but to no avail. However, at the last moment, he discovers a clue: a footprint. When he scans the print, the only information available is that he, whoever he may be, is believed to have kidnapped a fifteen-year-old girl twenty-five years ago. Sean’s only hope to solve the case is to delve into the mind of that once fifteen-year-old girl. She is the only person who knows who this man is. The only person who can solve the case. Her name is Suzanne Elmwood.

What the Press Would Say:

I was anxiously looking forward to seeing “Ashes of Elmwood” and being the first critic not to give it a glowing review. I was looking forward to calling the performances good-but-not-great, calling the script overly-depressing and stating that Sidney Lumet just doesn’t have it anymore. Unfortunately for me, “Ashes of Elmwood” is actually the polar opposite of each of those statements. It is the most powerful, moving film I have seen this millennium. I am simply dumbfounded at how one film can have such a lasting impression on me.

An ensemble piece, “Ashes of Elmwood”, as one can tell just by looking at the incredible cast list, is highly dependent on its actors. In addition to excellent supporting performances by Mira Sorvino, Frank Langella, Phylicia Rashad, Jim Caviezel, Louis Gossett, Jr. and Sally Kirkland, there are three that especially stick out. First: the elephant in the room that is Björk as Suzanne Elmwood. While I think all of us “Dancer in the Dark” fans knew that the Icelandic pop star would hit this performance out of the park, I don’t think anyone could have anticipated it being this good. Easily the most daring—and brilliant—casting decision of the year, Björk sheds any preconceived beliefs about her acting abilities and makes a character no one has ever seen before, and employs some of the most outlandish acting methods I’ve ever seen. If there’s one thing in this world that we know for certain, it’s that this 42-year-old sensation will be picking up an Academy Award for Best Supporting Actress. Ellen Burstyn, in her first major film role since her Oscar-nominated work in “Requiem for a Dream”, is equally remarkable as Elaine Elmwood, the grieving mother of a psychologically damaged pedophilia survivor (Björk). She gives the character a sense of understatement and dignity that a lesser actress more than likely would not have, and it couldn’t have been more beneficial for her. The end result is an honest, likable-but-flawed character that we couldn’t sympathize for more. If there’s a better performance by an actress in a leading role this year, I’d like to see it. And finally, Don Cheadle, who picked up a surprise Oscar win for his work in “The Bluest Eye” is almost certainly looking at statuette #2 for his work in “Ashes of Elmwood.” Portraying Sean Borland, a Missing Persons Officer with the guilt of not preventing an abduction most believe he could have stopped in his teen years, Cheadle beat out an endless parade of actors including Chiwetel Ejiofor, Russell Crowe, Leonardo DiCaprio and Matt Damon that lobbied vigorously for the part. And the fact that he was chosen is proof enough that the Academy needs to create a category for casting directors. His performance is nothing short of jaw-dropping. He brings a sense of ambiguity of the role—is he good? Is he evil? Are his intentions pure—rather than just trying to defend his character. The final impression was ingenious, to say the least.

Brian Helgeland, writer of 2003’s “Mystic River”, penned the script of this masterpiece. If the ensemble is rewarded (which it will be, if there’s any justice left in the world), Helgeland should and will be as well. I cannot recall the last time I’ve seen such a controversial, huge topic for a film be spawned from such a subtle, multi-layered script. Granted it may not fit the typical comedy route that Oscar tends to take in giving the Best Original Screenplay award, such unanimous backing from critics and peers alike should give Helgeland the statuette with no questions asked.

Sidney Lumet, arguably the director most overdue for an Oscar working today, deserves an honorary award just for being able to get such amazing performances out of his entire cast. The fact that he also managed to use camera angles and filmmaking techniques so refreshing and new—at 83, no less—makes me wonder why they even bother announcing other nominees in the Best Director category. His win is so locked and loaded, words cannot describe it.

Easily the best film of at least the past 2 or 3 years, “Ashes of Elmwood” is set to be a fierce contender in just about every category this Oscar season. The film features the best direction, writing and acting I’ve seen in ages. It is an emotionally turbulent, heartbreaking and unbelievably inspiring experience no one can possibly forget.

FYC:

Best Picture
Best Director (Sidney Lumet)
Best Actor (Don Cheadle)
Best Actress (Ellen Burstyn)
Best Supporting Actress (Björk)
Best Original Screenplay
Best Film Editing
Best Original Score
Best Original Song (“Backlash”, written, composed & performed by Björk)

Cut

Author(s): Evan (N/A)
Cut

Directed By: Catherine Hardwicke
Written By: Patricia McCormick

Main Cast

Callie – Charlie Ray
Sam – Ty Panitz
Sarah (Mother) – Carrie-Ann Moss
Tiffany – Alexia Fast
Claire – Denise Richards

Tagline: “Callie loved the pain, but she couldn’t handle the hurt.”

Synopsis:

“Take a walk you can hardly breathe the air, look around, it’s a hard life everywhere, people talk, but they never really care, on the street is a feeling of despair.”
-Neil Diamond

Callie seems like an average teenager. She has a family consisting of her parents and younger brother Sam, goes to a normal high school and runs track. Callie's life seems normal. But Callie's life is not at all normal. Callie has a dangerous secret: she cuts herself. Never too deep, never enough to die, Just enough to feel the pain. Enough to feel the scream inside. When her mother and father find out, they decide to send her to Sea Pines, which is a residential treatment facility north of San Francisco. Girls who are there with her suffer from various illnesses. One girl is anorexic, another is grossly overweight. A couple of girls are illegal drug abusers. One girl also has SI, a certain sort of self-injury, just like Callie. Her name is Tiffany and they become friends without speaking. They all have to go to meetings and group sessions to get well, and hopefully discharged from, as the girls call it, ‘Sick Minds.’

At first the other girls label her S.T., for ‘Silent Treatment’ because she didn’t ever speak, and the doctors at the hospital think it may be best to send her home and let someone who wants to get well take her bed. Even her personal therapist, Claire, is starting to give up on her. Although she doesn’t think that the therapy is helping, she has a breakthrough one night. After she steals a pie plate and makes it into a cutting utensil. She finds when she cuts her arm this time that it hurts badly.

After this incident, Callie starts to open up. They find out that her younger brother is ill with severe asthma. Ever since her brother became sick, her mother has acted very peculiar. She refuses to drive on highways, she is obsessive about the cleanliness of the house and she’s basically become a recluse. Callie’s dad is also probably an alcoholic, and certainly a workaholic. They find out that Callie was babysitting her brother the first time he got really sick, and Callie had to go and find her father at the local bar and ask him to come home.

After her mother and brother come to visit her, Callie sees that her brother really needs her, and he says he does. She decides to go home, for her brother. She slips out of the facility in the middle of the night and
runs away through a heavily wooded pine forest. As she walks down the highway she realizes she really does want to get better, and that she can’t help anyone else if she can’t even help herself. Callie heads back to Sea Pines, so she won’t have to suffer the hurt of loving pain.

“…But everyday, there’s a brand new baby born, and everyday there’s then sun to keep you warm, and it’s alright, yeah it’s alright, I’m alive.” -Neil Diamond

What The Press Would Say:

In her ferocious and dark adaptation of Patricia McCormick’s novel “Cut,” Catherine Hardwicke has created a gruesomely intelligent portrayal of a girl who cuts herself, and her life and rehabilitation. In this deeply moving film, Charlie Ray gives an intense and smart performance as Callie. In her first big role since “Little Manhattan,” Ms. Ray gets into the audiences heart, mind, and blood, taking them on a roller coaster ride as she finds what she wants, and what she needs. The performance radiates raw pain and energy, hurtling herself towards controversy in a performance that is sure to be one of the best of the year. Ty Panitz, although young, gives a great, and heartbreaking performance as the one who saves Callie from the icy hands of death. Panitz gives a very strong performance. Carrie-Ann Moss gives an amazing performance as Callie’s mother, a women who is too careful, and too carefree at the same time. She is so concentrated on Sam that she doesn’t give Callie the life she needs. Mrs. Hardwicke’s greatest achievement, though, is the defined gap in the film between hurt and pain. It shows us that the shadowed space between hurt and pain is ever moving, and changes for each person. “Cut” is astonishing in the gritty reality that it portrays, and will live on as one of the best films ever made about teens, and a thoughtful look at teenage mental illness.

FYC
Best Picture
Best Director – Catherine Hardwicke
Best Actress – Charlie Ray
Best Supporting Actor – Ty Panitz
Best Supporting Actress – Carrie-Ann Moss
Best Supporting Actress – Denise Richards
Best Adapted Screenplay
Best Score
Best Cult Bait
Best Awards Campaign

The Children of the Heart

Author(s): Hugo (Spain)
The Children of the Heart

Directed & Written by Deepa Mehta
Cinematography by Luc Montpellier
Editing by Dylan Tichenor
Music by Justine Baddeley
Original Song “The Valley of Pain” by Regina Spektor

Main Cast

Edward Norton … Keith Burns
Holly Marie Combs … Lily Burns
Sissy Spacek ... Marie

Tagline: “Hope feeds our lifes no matter how hungry they are”

Synopsis: Keith and Lily are a young couple who have recently lost their six years old son, Christian. Christian had a strange disease in his heart, with apparently no cure. There were nothing doctors could do for him. He died. Lily suffered from a huge depression. Despair had taken possession of her. After a couple of months, Keith convinces his wife that they were going no way feeling like that and that they should do something. Both decide to found a special camp for children with the same disease Christian’s had. They’d call it: Christian’s Hope.

The first month they welcome four kids. With the help of Lily’s mother, Marie, they do their best to bring up those children. Innovative therapies, special treatments... Of course they play with them and make them feel comfortable there. Bad news come when, two months later a child dies. They get to taste that sour feeling of impotence. Time goes on and new children arrive but none of them gets to stay more than a year with them. Lily gets pregnant again. After nine months she gives birth to Rachel. Rachel is diagnosed the same disease Christian’s had. And it’s discovered that it is a genetic issue. Anyway Keith and Lily continue with the camp.

After lots of sour moments and hard times, they discover a new treatment that could work. Months go by and any children die. It may be casualty, a matter of time or that the treatment finally worked. Anyway, hope came back to their hearts. Maybe they could save their daughter’s and the other children’s life. Lily saw the light again.

What the press would say?

“Hope connects us all at the end of the day” – Marketa Irglova.

The plot and main story of the film may give the impression of a very dramatic picture. Not at all. This film with its great performances show us how hope moves mountains. Directed and written by Hindi director Deepa Mehta, this movie keeps the tone of its creator. Slow, yet not boring, defined story line, great performances and a beautiful background. The story is clear, simple and moving. The performances are powerful.

Holly Marie Combs leaving behind TV, is a scene stealer. Subtle performance. She portraits a caring mother who lost her children. One of the most moving performances this year. Edward Norton portraits her husband, a man who’s seeing his family falling. He tries to make his wife channel all those feelings and do something for people with the same problem, incredible performance. Sissy Spaceck stars as Lily’s mother, a woman who sees her daughter consuming and will do anything for her. She joins the team and helps at the camp. All great performances that give the film brilliantness. With an indie sprit to it, you should love this one.

For Your Consideration

Best Picture
Best Director – Deepa Mehta
Best Original Screenplay – Deepa Mehta
Best Lead Actor – Edward Norton
Best Lead Actress – Holly Marie Combs
Best Supporting Actress – Sissy Spaceck
Best Original Song “The Valley of Pain” – Regina Spektor

Darwin Discovered

Author(s): Maia (CA)
Darwin Discovered

Directed by Jean-Jacques Annaud
Written by Matt Greenhalgh
Edited by Tim Squyres
Cinematography by Eric Gautier
Production Design by Patrice Vermette
Makeup by John E. Jackson
Costume Design by Milena Canonero
Original Score by Elliot Goldenthal
Original Song “The Power of Place” written by Elliot Goldenthal
And performed by Ecuador’s National Academy of Music

Main Cast

Anthony Hopkins as Charles Darwin
Matthew Macfadyen as Charles Darwin – Age 35
Pete Postlethwaite as Captain Robert FitzRoy
Jeremy Northam as John Stevens Henslow
Bill Nighy as Julian Ferguson
Hugh Dancy as Thomas Malthus
Georgie Henley as Annie Darwin
And Penelope Wilton as Emma Darwin

Tagline: “A man of evolution, a life of revolution”

Synopsis:

1836, The Galapagos Islands (Sunrise)
Five years had passed since the morning Charles Robert Darwin left London and embarked on the second voyage of the prestigious HSM Beagle:

It had only been two months since the sudden passing of his daughter Annie but his wife Emma already knew he had changed forever. It is well-known the young naturalist lost his faith after Annie’s death but it is also true his grief only made him even more curious and adventurous. Intrigued, driven by his new found skepticism, Darwin took the advice of his old friend and mentor, John Stevens Henslow; and met with Robert FitzRoy, the captain of The Beagle. Friendship was born almost immediately; some even say they became like father and son during their five-year journey. Truth is, both men shared a deep passion for the secrets of nature and both were used to be misunderstood.

But the journey had now come to an end; this was the last sunrise Darwin would see in the mysterious, spellbinding Galapagos. There would be no more encounters with its magical creatures and they would be no longer called monsters or the fantasies of drunken sailors. They were real, as real as the last image he’d see as he walked back to the Beagle that last morning: there was his Annie, so fragile and so vivid. It would be a memory that would haunt him forever…

Twenty five years later, the young explorer had become a celebrated yet controversial author; he had evolved just like his mythic creatures from Galapagos. He was now an old, bald man with a bushy beard but he was also a wise man, one who could share his stories with the many young pupils (like that vigorous Thomas Malthus) who would listen to them.

But not everyone was so impressed with Darwin’s theories. Since his book The Origin of the Species had stirred controversy a few years ago; Charles and Emma had grown apart. She, being a devoted christian, couldn’t live knowing her church was accusing him of heresy. Still, she stood by his side as any wife back then would, but the incessant attacks from influential politicians like Julian Ferguson were slowly breaking her apart.

A decade of equal fame and mockery later, Charles Robert Darwin knew the end was close. It was now when his usual dream had become a lively, recurrent fantasy. He could see Annie and Galapagos everywhere; even awake while he walked by the mighty Thames. It was the one vision in his mind that had never changed; the one he didn’t want it to evolve…

What the press would say:

Exhibiting a unique richness of sensory detail and poetic narrative, Annaud’s “Darwin Discovered” is among the most inspiring and satisfying biopics in recent years. Combining the fantastic elements of the magic realism and a stunning visual style that is able to captivate the viewer without being a distraction, the French director has found the most graceful style to represent the world as seen by an avant-garde personality like Charles Darwin.

During the film’s early minutes, Annaud and his crew introduce us to their vision, or shall we say Darwin’s vision of the undiscovered Galapagos. A magic territory where magnificent creatures, from giant reptiles to colorful birds; come to life in beautiful, surreal sequences. Here in this eye-catching world, Matthew Macfadyen steals our attention as soon as the pic begins; the Pride & Prejudice actor plays the young Darwin as a man suddenly becoming a boy playing explorer, thrilled by the unknown world around him. His expressive performance is the vehicle for Galapagos to come to life but most importantly, for us to understand the real greatness of Darwin’s discovery on nature and evolution.

Once the film takes a twenty-five year leap, it’s only fitting to have a screen legend like Anthony Hopkins playing an icon like Darwin. Apart from the effective casting work, Hopkins is able to deliver a majestic performance filled with courage, depth and empathy but also packed with a distinguishable dignity that makes us connect with the unique man he is playing. Hopkins embodies his character with grand determination and the result is a reflective, magnetic portrayal of a man born ahead of his time.

The rest of the cast doesn’t disappoint: West End veteran Penelope Wilton portrays Darwin’s tormented wife with poise and bravado; Oscar nominee Pete Postlethwaite is captivating on the film’s early minutes as the illustrious captain Robert FitzRoy and although she is mostly seen, not heard; Narnia’s Georgie Henley gets her chance to shine during that climatic sequence when Galapagos emerges out of the Thames and her character and Hopkins’ make their heartbreaking farewell.

“Darwin Discovered” is indeed a touching portrayal of a man who lived his life as a genuine revolution and who never settled to live it as a simple process of evolution.

Please consider “Darwin Discovered” during the upcoming awards season in the following categories:

Best Picture (Drama)
Best Director (Annaud)
Best Actor (Hopkins)
Best Supporting Actor (Macfadyen)
Best Supporting Actress (Wilton)
Best Supporting Actor (Postlethwaite)
Best Supporting Actress (Henley)
Best Adapted Screenplay

Dementia Ascending

Author(s): AJ Bell (TN)
Dementia Ascending

WRITTEN AND DIRECTED by Sean Penn

Main Cast

Ewan McGregor as Private Till
Christian Bale as Captain Wade
James McAvoy as Private Kearney
Colin Farrell as Private Hughes
with Geoffrey Rush General Pine
and Ewan Bremmer as Charles Scout

Tagline: "IN THE DARK BEAUTY OF EMPTINESS, WHO CAN SEE THE LIGHT?"

Synopsis: Private Till has always looked up to Captain Wade. When they attacked the British embassy, he was right there. In fact, Wade had even saved his life there. There was no mention of this afterward, of course, because Wade didn't think anything of it. "This is war, and in war we do what we must," he would always say. But deep down, hidden by all that pride, Till knew that it meant something to him. When his homeland of Ireland declared war on England, he knew now, that he could prove his worth to his Captain. Show him that he too, could be a hero.

Four years into the war, General Pine delivered Wade a special assignment. British Prime Minister Laughlin would be traveling to an encampment near the border of Russia, and he gave him the honorable task of executing the assassination. His crew, which consisted on Pvt. Kearney, Pvt. Hughes, himself, and Pvt. Till, would complete the task. But before they know it, they must flee for their lives and end up crashing their helicopter into the middle of the Russian wilderness. With all communications systems out, they would have to rely on no British finding them, and their own countrymen locating them instead.

Trapped in the icy, dark, forest-like tundra of the U.S.S.R. they soon lost all hope of ever being found. They began to build shelter, and hunt for food, while also trying to fix what little communication devices they had. But the dark, and vast emptiness of the terrain was too much to bear for some, and over time, Wade and Hughes start to lose themselves to isolation.

While hunting for their dinner, Till spots something among the trees. He looks a little closer and notices that it is an English Scout. He fires a round into the scout's leg, and he falls. They capture him, and Wade tries desperately to get information out of him. Kearney becomes friends with the scout, and they talk about how the scout was originally an Irishman, but moved to England as a teenager, and was drafted for the war. Then Wade bursts into the conversation and takes the scout out in front the entire troupe. With the devil burning in his eyes, he executes the scout. This upsets Kearney, who lets Wade know that that is not the way to treat a POW. Wade only replies with, "This is war, and in war we do what we must." Kearney and Wade get into a dispute, ending in Kearney being shot alongside his friend, the scout.

Till cannot take Wade anymore, with his dementia ascending at the rate it is, he fears that they will all be dead soon. He tries to tell Hughes, but Hughes is just as crazy as Wade. The conclusion Till can see is to kill Wade. He stands over him while he sleeps, holding a gun to him. He just can't find it in himself to shoot a man he admires so much. He walks out of the tent, just as Hughes pulls a gun on him. Hughes tells Wade what Till was about to do, and they prepare Till for an execution. Seconds before he would've pulled the trigger, an Irish helicopter flies in from the distance. General Pine is seen standing near the doors, but it is too late. Pine watches as Wade finally loses all control, and fires a round into Till.

What the press would say:

Sean Penn's masterful adaptation of the classic novel, Lord of the Flies, is beyond words. Penn crafts the haunting tale of a not so distant future in which Ireland and Britain are at war. Private Till (Ewan McGregor in what is indeed his finest performance since Trainspotting) is torn between his mentor and father figure, and doing what he in his heart knows is right. Christian Bale gives on hell of a performance as the crazed Captain Wade. When he is sitting alone in the woods, Bale's expressions just ooze psychotic mess. This is the one performance this year that is sure to rack up award after award. Ewan McGregor is fantastic as the young, naïve protégé of Bale, and when he is debating whether or not to kill Wade, it is truly heartbreaking. McAvoy shines as the one person who stands up to Wade and pays for it dearly. And Farrell gives one of his best to date as the right hand man in the crazy whirlpool that is Wade. Bremmer has a brief cameo, and it is scene stealing. And Rush is terrific as the General who was the cause of all this turmoil. Penn's stylistic and artful direction is astounding, and he truly shows the isolation these characters are going through. Dementia Ascending is the one to beat this year, and it will prove difficult to any of those who try.

BEST PICTURE
BEST DIRECTOR – SEAN PENN
BEST ACTOR – CHRISTIAN BALE
BEST SUPPORTING ACTOR – EWAN McGREGOR
BEST SUPPORTING ACTOR – JAMES McAVOY
BEST ADAPTED SCREENPLAY

A Final Prayer

Author(s): Tony (PA)
A Final Prayer

Directed by Sidney Lumet
Written by Mark Romanek

Main Cast:

Mark Ruffalo as Jozsef Barsi
Elle Fanning Judith Barsi
Marcia Gay Harden as Maria Barsi
Sydney McCallister as Cassidy

Tagline: "When happiness is reached, so is tragedy"

Synopsis: Jozsef Barsi carries his exhausted wife Maria out the door as he rushes for their departure from the country. They are Hungarian immigrants, desperately trying to flee from the Hungarian revolution into America, where opportunities await. He caresses his wife closely and holds her tightly; she is difficult to hold being pregnant with their first born child. Jozsef can't wait to be a father. He knows he can give her promise and satisfaction, perhaps life in another place. He kisses Maria's forehead and tells her they are almost to their destination, Los Angeles. This is where their daughter is born, Judith Eva Barsi.

Jozsef becomes a role model for his wife and child. The job search is on but no luck, until he lands a job being a plumber. His dream is to provide his family with the love and care he never experienced growing up. Maria has dreams of becoming an actress, but those dreams never come true for her. While young Judith is skating at an ice rink, she is spotted by a talent scout. Judith has the look and personality for television, but she is small for her age. Therefore, she is forced to be injected with growth hormones. As of that day, Judith Barsi becomes a star. She appears in over 70 commercials and lands jobs doing voice acting for films such as "Land Before Time," and "All Dogs Go to Heaven."

In the beginning, Jozsef becomes more envious of his 6 year old daughter the more she becomes famous. They are still on welfare and Jozsef is laid off. He watches her career grow, thus triggering an emotional distress and paranoia coming from his painful childhood growing up in Hungary. This causes him to snap and profusely threaten to kill Judith and Maria. Maria doesn't know where the rage comes from, but she still sees the man that saved her life in a falling country. He refuses to have her work as well. Judith is finally encouraged to see a child psychologist after all the mental and physical abuse. She even began to pluck at her eyebrows and eyelashes to relieve the pain. Maria never pressed any charges, therefore the case was never followed up.

It is at the start of 4th grade when Judith begins bringing in 100,000 dollars a year. This money buys a house in a small neighborhood. This is where she meets her best friend Cassidy. At this time, Jozsef, still unemployed, becomes an alcoholic, and threatens his family with knifes and pans. With jealousy and anger clouding his thoughts, it is only a matter of time before he does something devastating. Maria glows watching her daughter succeed, but feels her soul burn watching her husband deteriorate as he continues to threaten her.

On July 25, 1988, Judith hears the footsteps moving towards her bedroom door, hoping it is her mother coming to tuck her in. The noise gets closer as the door creeks open. Jozsef Barsi walks towards his daughters bed, looks down at her, and pulls the trigger. Maria barges into the room as another shot is fired. He falls to the ground in tears and anguish as he pours the gasoline all throughout the house. He walks out into the garage, and pulls the trigger one last time. That night the neighbor phones the fire department, and they later find the bodies.

Days go by and Cassidy is without her friend. She takes care of Judith's cats, which she loved so much. The memories live on, but the tragedy would stay branded in their hearts forever.

What the press would say:

Strange occurrences happen all over the world. Sometimes we look at movies to escape the on-going bizarreness of our nature. However, sometimes it's the movies that makes us question if our species as a whole can count on each other to survive. Sidney Lumet's "A Final Prayer" is one of those films. The film is based on the horrific story that happened a little under ten years ago that brought hopelessness and shock to a city. A precious gem was taken away from us on an unspeakable and puzzling crime. Pure Lumet is added onto this masterpiece by the way he develops the characters and how he creates tension through the anxiety from his camera work. With the help from "One Hour Photo" writer Mark Romaneck, the two explore how fragmented a family can become when an evil and external force lurks in the air. Mark Ruffalo plays that force as Jozsef Barsi. In the opening scene we're introduced to a humble and caring individual. Mark Ruffalo's transition can be somewhat compared to Jack Nicholson in "The Shining," only less forced and based on development. Ruffalo gives more emphasis to the role with the Hungarian accent and strong, brutal presence that builds on after each scene. What makes this performance more scary is his behavior isn't cliche, but more real. Playing the infamous Judith Barsi is young Elle Fanning. Fanning has never been so deep into a performance. It demands her to be lovable but just by the look in her eyes, we must see sadness and pain. Fanning feeds all her emotions from this role and does our beloved Judith justice. Her later scenes in the film with Mark are mentally unstable to watch which creates a terrific, yet disturbing atmosphere. Lastly, Marcia Gay Harden plays our troubled mother, caught between her loyalty and perhaps stubbornness towards her husband. We know from the dialogue that Jozsef did great things for Maria to earn her trust and respect. To see her husband dwindle in front of her eyes is a challenge for any actress that must be put under that immense pressure and heart break. Harden always has a knack for posing as the antagonist in some minds. The scene where she turns down the press charges makes us all question her decisions; in the end it may have cost her life and her daughter. It's a character we sympathize with, but never admire.

Closing out this review, "A Final Prayer" never answers the whys or wherefores. The script is simply made for us, the viewers, to make our own judgments on what really did trigger Joszef's actions. There are many layers to look into, but at the center is the life of Judith Barsi. A life that every child dreams of, being someone important. It's also a life that some of us recognize, how truly thankful we are for what we have. One minute she was there, and the next she wasn't. The final scene where Cassidy feeds Judith's cats as she breaks down in tears may very well solidify this film to having one of the most powerful conclusions ever on screen. Even if the viewer is familiar with this story and outcome, it still comes off as harrowing, chilling, and simply put real.

FYC:

Best Picture - Sidney Lumet and Mark Romanek
Best Actor - Mark Ruffalo
Best Supporting Actress - Elle Fanning
Best Supporting Actress - Marcia Gay Harden
Best Director - Sidney Lumet
Best Original Screenplay - Mark Romanek

The Great Affair

Author(s): Chris P. (IL)
The Great Affair

Directed by Stephen Frears
Screenplay by Tom Stoppard
Cinematography by Newton Thomas Sigel
Edited by Pietro Scalia
Music by Howard Shore

Main Cast

Clive Owen as Richard Burton
Catherine Zeta-Jones as Elizabeth Taylor
Harry Connick, Jr. as Eddie Fisher
Emily Watson as Sybil Burton

Tagline: "Their lives were all but a scene."

Synopsis: It's the glamorous scene of 1960's Hollywood. 20th Century Fox's highly anticipated film, "Cleopatra" is suffering from a heap of negative press. First, the movie nearly bankrupt the studio because of its extremely high budgeting price and second, the off-screen love affair between co-stars, Elizabeth Taylor (Jones) and Richard Burton (Owen), is causing a tremendous amount of chaos and has created an international scandal that the public, media, paparazzi, and tabloid magazines are devouring with pleasure.

For Liz and Richard, their love was a way of finding admiration away from home. He was married to his long time wife, Sybil (Watson), and she was wed to her former co-star and companion during the death of her last husband, Eddie Fisher (Connick, Jr.). Once news breaks about their extramarital activities on the set of their film, it damages their marriages, their reputations, and even their own relationship. Sybil, who is devastated over her husband's unfaithfulness, leaves him. This leads Richard to become dependent on alcohol and causes him to repeatedly call off his relationship with Liz so he could reunite with his estranged wife. Elizabeth, who is rushed to the hospital with food poisoning, is confronted by Eddie who wants to reconcile with her but is unsure on how to forgive her.

But soon, Liz and Richard are back together and are married a year later. Their marriage, however, is plagued with many tempestuous set backs. Richard begins to lose credibility as a respected stage actor and becomes more unstable as his drinking and insomnia gets worse, Liz starts to gain weight as her indulgences for food and liquor grows ,which makes her an ideal target for the press, and their constant bitter fighting and arguments leads to a divorce and finally to an unsuccessful reconciliation. "The Great Affair" is the spectacular story about two of cinema's greatest actors, their complicated relationship, and the personal demons they had to face.

What the Press Would Say:

"The Great Affair", the latest from Academy Award-nominated director, Stephen Frears ("The Queen"), is a masterful Hollywood epic done to perfection. Telling the story of two of Hollywood's greatest icons and their tumultuous romance would have been a failure if done by any other director at the helm. But Frears succeeds by capturing the true nature of this famous couple's relationship and really digs deep into the personal struggles they had to face. The screenplay written by Tom Stoppard ("Shakespeare in Love") is just as impressive. Stoppard ignores the usual biopic clichés and gives these characters real depth and humanism. Technically speaking, this film looks fantastic. The viewer really feels the enchanting atmosphere of the era and what it must have been like for these characters to live during this time. The amazing performances are definitely worth recognizing as well. Oscar winner, Catherine Zeta-Jones, probably delivers the most risky and challenging performance of her career playing the fabulous Elizabeth Taylor. Jones gives her best work since "Chicago". She perfectly captures Elizabeth's essence. The glamor, the drama, the larger than life persona, it's all there and done in such a magnificent way.

Academy-Award nominee, Clive Owen, stars as Richard Burton. Owen manages to steal every scene he's in. He superbly portrays the legendary but troubled actor with an incredible amount of intensity and shows the real misery this man had to face while up against the public and his life. The supporting performances by Harry Connick, Jr. and Oscar nominated Emily Watson really make a lasting impression. Connick, Jr. plays Eddie Fisher, Liz Taylor's supportive husband who only wants to be with his wife but is frustrated by all the media attention her affair is getting him in. He does a phenomenal job at portraying a man who loved his wife but was unsure on how to accept her betrayal. Emily Watson portrays Sybil Burton, Richard's heartbroken wife who leaves her husband after he does the unthinkable to her. Watson creates a character that is sympathetic yet strong at the same time. It's extraordinary work. Overall, "The Great Affair" should be called one of the best films of the year. It's stunning performances, directing, writing, and technicals are all top notch and the film does a riveting job at showing what it was like for the people involved in this sensational Hollywood affair.

Awards Consideration

Best Picture
Best Director - Stephen Frears
Best Actor - Clive Owen
Best Actress - Catherine Zeta-Jones
Best Supporting Actor - Harry Connick, Jr.
Best Supporting Actress - Emily Watson
Best Original Screenplay
And In All Technical Categories

Her Journal

Author(s): D.W. (NV)
Her Journal

Directed by Kathryn Bigelow
Written by Robin Swicord
Inspired by the novel "Ella Price's Journal" by Dorothy Bryant
Music by Mark Isham
Produced by Steven Spielberg and Lucy Fisher

Main Cast:

Jacqueline McKenzie as Felice Chandler
Mark Ruffalo as Judd Chandler
Scout Taylor-Compton as Melanie Chandler
Kiefer Sutherland as Professor Barry Harkin
Kathleen Quinlan as Debbie Plain

Tagline: "The words came and made her free."

Synopsis: 1967, San Francisco, California. The streets of Haight-Ashbury are roarin' with hippies, protestors, stoners and artists galore. The Vietnam War reaches it's pinnacle, the world is changing and people are engaging. It is the 'Summer of Love'. For 35 yr old Felice Chandler (Jacqueline McKenzie), devoted house-wife and mother, it is the 'Summer of Change'.

Struggling novelist of a husband, Judd (Mark Ruffalo) called it a phase, but for Felice, taking a creative writing course at the local bay area community college was a chance at finding a missing piece in her life. Out of touch and out of time, but ultimately tired of watching the world turn without her, she took her studies seriously. Her first assignment; Begin a journal.

Her journal would give us insight into a woman that would test herself with tough decisions, and break down the gender barriers. Her journal would lead to the steamy attraction, yet unsatisfying affair with her sexually inept English professor, Barry Harkin (Kiefer Sutherland) that leads to a forbidden abortion. Her journal takes her to the violent protests against the war where she meets her new best friend, the bi-curious journalist, Debbie Plain (Kathleen Quinlan), who is anxious to publish her journal to promote women's lib. Her journal is an object of jealousy for her husband when he finds out her affair and plans to publish, after his hokey western novels are continually passed over. Her journal hugely influences her once innocent daughter, Melanie (Scout Taylor-Compton) who joins the burning-bra/free-love/pro-drug movement that leads to a disturbing end when she is sexually corrupted by someone close.

Thanksgiving 1967

Dearest Journal,
The turkey is stuffed, the sweet potatoes are baked, and the pumpkin pie...well, the pie is bought. Melanie promised she would be here, I hope she comes. Judd said he would let her come, but it's her decision. This holiday has not come easy. It was only two weeks ago when I found her in my bed crying while my "best friend" lay naked and dead from a drug overdose. This journal has been both my savior and my nemesis, yet remains the only friend I have left. But I have to let go and build a heaven on the ground or maybe...hold that thought...there's a knock at the door.

What the Press Would Say:

Roger Ebert once said of director, Kathryn Bigelow, "...she is interested in the ways her characters live dangerously for philosophical reasons.". Her talent is unquestioned and admired by her peers, and "Her Journal" is her stamp of approval and masterpiece. Known for her critically acclaimed action-thriller Point Break, Bigelow sets out to showcase her versatility and sensibility.

"Her Journal", a story inspired by Dorothy Bryant's acclaimed novel, "Ella Price's Journal" that centers around a stereotypical housewife (Jacqueline McKenzie) of the 60's living in a 50's household, watching the world change without her, prompting her to take up a class at the local community college where her assignments center around writing a journal. The journal is the outlet she needs that allows for her emotions and feelings to pour out. And they flow like a river. She enters the peace/protest movement, experiments with drugs, sex, and everything the district of Haight-Ashbury could offer at that time. What wasn't expected were the effects it would have on her family dynamic. When the three closest people in her life uncover her journal, their worlds are rocked. Husband Judd (Mark Ruffalo) succumbs to his jealousy when he can't fathom how his wife can write about her short-comings and promiscuity, while he can't find a publisher who'll give his western novels the time of day. Felice's teenage daughter (Scout Taylor-Compton) falls into the hippy crowd, and ultimately out of her element. The antagonists, teacher Barry Harkin (Kiefer Sutherland) who sexually seduces her into a love affair and abandons her with news of her pregnancy, and best friend Debbie Plain (Kathleen Quinlan) draws Felice into a life she wasn't ready for. Perfectly cast Quinlan and Sutherland play down their characters who are real, relatable and often times eccentric. Sutherland’s performance is thickly layered in the affair scene where he under performs; his reaction is shameful but his actions play as a metaphor for the times when he blames his lackluster performance on the woman. Quinlan as best friend Debbie, a character inspired by Glenn Close’s feminist crusader Jenny Fields in The World According to Garp plays as her evil twin sister. A pair of memorable performances that should not go unrecognized come Oscar season.

Writer, Robin Swicord (Little Women) carefully pinpoints each cause and effect action her lead character makes, and leaves no question unanswered. It is a straight-forward, uncompromising look at a woman fighting for her own independence. She accentuates her flaws, but is sure to celebrate Felice's inspiring moments. It's not everyday a woman's role like this comes. Australian-born actress Jacqueline McKenzie is best known for playing the precocious girlfriend in Russell Crowe’s break-out film, “Romper Stomper”. McKenzie, who famously beat out many actresses for the role, makes her mark here as the rebel housewife, displaying fear, nervousness and anxiousness through more expression than dialogue. Her narration is a brilliant tool Bigelow uses for McKenzie to experiment with a more silent-acting approach. In the beginning her journal entries are narrated, where as time moves on, she becomes more independent and outspoken, with no narration, only until the final bittersweet scene.

In the end, Felice will go through emotions she never wanted, decisions she'd never thought she'd make...to live a life of complete freedom, but at what cost? Her memoirs would take her from liberation to tragedy but end with a sense of hope for not just her but for her wayward daughter. "Her Journal" is a film not to be forgotten with some of the most memorable scenes ever put to film. Watch it for Bigelow's canvas like settings and tricky direction. Watch it for Swicord's original spin on an acclaimed novel. Watch it for the unforgettable chemistry Jacqueline McKenzie has with the likes of Ruffalo, Sutherland and Quinlan. Watch it for Mark Isham's tantalizing score. "Her Journal" is a film that is written in the wind, caught in mid-air, framed and placed in a museum.

Best Picture
Best Director - Kathryn Bigelow
Best Actress - Jacqueline McKenzie
Best Supporting Actor - Mark Ruffalo
Best Supporting Actor - Kiefer Sutherland
Best Supporting Actress - Kathleen Quinlan
Best Adapted Screenplay - Robin Swicord

In a Flash

Author(s): JG (NY)
In a Flash

Directed by: Oliver Stone
Written by: Oliver Stone
Music by: John Williams

Main Cast:

Patrick Wilson as Andrew Collard
Ed Harris as Charlie Meyer
Julia Roberts as Susan Collard
Elle Fanning as Emily Collard

Tagline: "In a flash, everything can change".

Synopsis:

Six months after being inaugurated as the next President of the United States, Andrew Collard is faced with the toughest decision of his life. His ten year old daughter Emily is diagnosed with a rare type of cancer and her chances of surviving it are slim to none. Collard's most trusted doctor, Charlie Meyer, tells him that the only way that Emily can possibly survive is through stem cell treatments. The problem is that President Collard spent his entire campaign movement preaching that he was against stem cell research. His wife Susan demands that Doctor Meyer go ahead with the treatments but Andrew is hesitant and tells him to wait. For days, Andrew is troubled by his situation, losing hours of sleep and focus. While he wants to do everything possible to save his daughter's life, he knows that he will be highly criticized by the public for going against his word and beliefs. Ultimately, Andrew decided to put the life of his daughter above his career and reputation and approved for Doctor Meyer to give Emily stem cell treatments in order to possibly save her life. When the news broke out, the public and media went crazy. Many of President Collard's supporters felt betrayed and looked upon him with disgust. Haters insisted that he be impeached. The controversy tore Andrew up inside as he tried his hardest to defend himself. However, the resentment and lack of support from the American public really got to him and forced him to make a rash decision in order to escape it all.

What the press would say:

Oliver Stone is sure to have another hit with his latest masterpiece, "In a Flash". He creates and directs a story so moving and breathtaking that it's hard to believe that it's a work of fiction. "In a Flash" tells the story of the new President of the United States, Andrew Collard. A short while after he goes into office, he finds out that his daughter is dying of cancer and that he has to decide whether to attempt to save his life or reputation. Patrick Wilson wonderfully captivates the role of President Collard. He proves that he can take on a serious role and justly portray the title character. Wilson digs deep into his characters mind and feelings so much that you really believe he really is Andrew Collard. His physical transformation is also outstanding. Ed Harris plays the role of the doctor who will provide Collard's daughter with stem cell treatments. Harris brings a sense of wisdom and comfort to his character that really makes him shine. Elle Fanning is wonderful as Collard's dying daughter and Julia Roberts rounds out the great cast as the emotional Susan Collard.

"In A Flash" is filled with the right amount of excitement, intensity, and depth and is sure to be a must-see film!

For Your Consideration:

Best Picture
Best Director: Oliver Stone
Best Actor: Patrick Wilson
Best Actress: Julia Roberts
Best Supporting Actor: Ed Harris
Best Supporting Actress: Elle Fanning
Best Original Screenplay: Oliver Stone
Best Film Editing
Best Cinematography
Best Original Score

The Latent Promise

Author(s): Sergio (Spain)
The Latent Promise

Directed by Robert Benton
Written by Nicholas Meyer
Music by Gabriel Yared

Main Cast:

Ed Harris as Paul LaGrange
Sam Shepard as Thomas LaGrange
Debra Winger as Johanna LaGrange
Eva Green as Lorraine
Jesse Bradford as Vince
Jack Rovello as Vince (Child)

Tagline: "A promise is a sacrifice. To fulfill it can be a condemnation".

Synopsis: The only person Vince has in life is his father Paul, but he is going to leave his home to start a new life. He has never received a sample of affection from his father and that has caused a big empty hole in his personality he can’t refill. They work together with the beasts all day long and the agricultural program of the New Deal doesn’t benefit them at all. They spend all day without speaking because Paul has never been a very communicative man. His life is a continuous big sensation of deception and that is causing him a lot of frustration and depression. Vince needs to open his heart to anyone but he is not able to do it. His mother, his family, his origins… everything is a big mystery for a boy who needs answers in his lonely life.

Years ago, Thomas was Paul’s only family, his beloved brother, his reference, his mirror. Paul and Thomas work together, they are friends too and confidants. Thomas has formed his own family besides Johanna and, after several years of marriage, she has give birth to a little boy called Vince, an unexpected miracle at their age. Paul is a lonely, traveling single man and a family is not in his plans. Paul adores his nephew Vince and he is happy because he has never seen his brother happier before. But all that happiness will disappear, inevitably. Paul loses his nephew one afternoon when he was under his care, while Peter and Johanna spend the day in the city after a year enclosed in their town. Vince appears drowned in the river the morning after.

From this day Paul and Thomas cannot look at the each other’s face. The forgiveness is impossible and the town is getting smaller day by day for both. Paul can’t stand this situation because his brother’s life is broken and he can fix it in any way. Life gives them a big blow again and their hearts can’t stand more pain. The day of the funeral Paul whispers something to his brother and his reaction is very violent, he throbs his brother and doesn’t accept what his brother has secretly told him. Paul leaves the town, leaves the judgments, and leaves the heavy pain over his shoulders.

Paul begins his life in another place, working in a factory. He sells everything he owns and gives all his money to a young and desperate woman, called Lorraine, in exchange for something: a son.

Thomas realizes the truth when he finds a baby at his door. Paul has done it. He is upset because he can’t accept what his brother has promised him but he doesn’t know where his brother is and they now have to take care of the small baby with a very big responsibility on his name: Vince. Thomas and Johanna refuse to love the baby but they can’t help the strong feelings they’ve dug up again. Maybe they can be happy again, maybe this time. But life is ironic and sometimes cruel and unexpected.

Thomas gets ill. The crisis is getting bigger and after Thomas’ death, she has to sell the farm and the house. Johanna searches for his brother-in-law, carrying her child, following the few clues she has researched. She finally finds Paul, a drunkard man who lives in a small and greasy apartment. She asks him for help, she has some money, but she needs him to start a new life, in a new house taking care of Vince. He refuses the proposal because he has lost his job after the last big strike. Johanna buys a little farm and she works alone on it all day carrying her child. But one day Paul appears in her house and finally helps her to survive. They rarely talk. They sacrifice the affection, even their sexuality. After her death, Paul remains on Johanna’s farm working the land and taking care of a child he promised he would never love. A big sacrifice he has to do in life to expire the words he said the last time he saw his brother alive.

What the press would say:

Before seeing the film what I have find more attractive is the name of Robert Benton as the director. Renowned scriptwriter and the correct director, Benton has directed in the nineties two excellent movies (Nobody's Fool, Twilight), in which he has shown an absent virtue almost completely in the current cinema: the classicism, allowing his cinema to be developed without exclamations, taking the necessary time in order so that the spectator could assimilate, to live through the history, and to savor it while it is digested.

Nicholas Meyer has created a story based on the definition of the characters and how they confront the challenges of their lives in a very complicated epoch, when the priority is to survive, leaving the emotions in a second plane. The most difficult were the casting choices. The actors had to be credible and coherent with the story. Ed Harris was the first choice to play Paul LaGrange because he was able to bring to life this complex man. Ed Harris is one of the best actors nowadays and he can transmit the austerity of the role. Robert Benton was looking for a very strong actress to play Johanna, a very hard character but with some sweetness and charisma. Nicholas Meyer told him that he was thinking of Debra Winger when he wrote Johanna’s character but they knew that it was impossible because she was retired. Debra was perfect for the role and after a disappointing search they decided to send the screenplay to her agent. She was reluctant but she finally accepted it, and fell in love with the character. Sam Shepard was very interested in the screenplay and he gets the role because he was perfect as Paul’s older brother. This melodramatic story obtained a big support from the producers because of the cast and the strong background story that they wanted to tell. The dramatic moments of the film are executed in an excellent way because they don’t try to look for the easy tears but for the big emotion and empathy. The plot turns around a boy with a big responsibility over his shoulders without knowing. It’s about the secrets of our parents, how they affect us and how even the saddest person has had a life full of joy, the only problem is that we haven’t met them in the right time.

FYC:
Best Picture
Best Director: Robert Benton
Best Original Screenplay: Nicholas Meyer
Best Leading Actor: Ed Harris
Best Supporting Actress: Debra Winger
Best Supporting Actor: Sam Shepard

Metal Gear Solid 2: Sons of Liberty

Author(s): Kizuna (AZ)
Metal Gear Solid 2: Sons of Liberty

Produced By: Steven Spielberg and Kurt Wimmer
Directed By: Hideo Kojima
Written By: David Hayter and Hideo Kojima
Musical Score By: Harry Gregson-Williams

Principle Cast:

Hugh Jackman as Solid Snake/Iroquois Pliskin
Edward Norton as Hal "Otacon" Emmerich
Gary Oldman as Revolver Ocelot
Cillian Murphy as Jack/Raiden
Malcolm McDowell as Solidus Snake/George Sears
Johnny Depp as Vamp
Naomie Harris as Helena Dolph-Jackson/Fortune
Ken Davitian as Fatman
Nora Zehetner as Olga Gurlukovich
Alexis Bledel as Emma "E.E." Emmerich-Danziger
Richard Roundtree as Peter Stillman
Jack Coleman as Richard Ames
Bill Paxton as President James Johnson
Chris Cooper as Colonel Roy Campbell
Rachel Bilson as Rosemary
Brendan Gleeson as Colonel Sergei Gurlukovich
Idris Elba as Commandant Scott Dolph
Paul Bettany as Liquid Snake (voice only)

Taglines: "Freedom is Inherited From Those Who Have Fought for It"

Synopsis: Two years after the events of Shadow Moses Island, the legendary mercenary-soldier Solid Snake, and his partner, scientist/hacker Dr. Hal "Otacon" Emmerich, have established Philanthropy, a non-government organization that is vehemently opposed against any productions of the Metal Gears, bipedal walking tanks that are capable of shooting nuclear warheads from any location on earth. After receiving news that the Marines have started a Metal Gear project of their own, Snake and Otacon attempt to investigate, infiltrating the tanker the weapon is stored on. The mission becomes even more complicated however, when old-time enemy Revolver Ocelot and his ally, Colonel Sergei Gurlukovich, have come to take the weapon, RAY, for themselves. An explosive showdown results in the ship being sunk, Colonel Gurlukovich and the Marine's leader, Commandant Scott Dolph, dead by Ocelot's hand , and the weapon stolen. Snake and Otacon are labeled terrorists and have supposedly been killed after the tanker incident...

Another two years pass, and a terrorist group called "Dead Cell" has seized control of the Big Shell Clean-Up Facility where the tanker was sunk, and they're holding President James Johnson and several more people hostage. The Dead Cell's members include Vamp, a supposedly immortal vampire-like man who can run on water; Fortune, Scott Dolph's daughter who wishes to be killed but can't be hit by bullets; and Fatman, an explosives expert. To make matters more complicated, their leader claims to be Solid Snake, who was confirmed dead after the tanker incident, and the plant is also supposedly a storage facility for a new type of Metal Gear weapon called Arsenal Gear. The terrorists are demanding a massive ransom in exchange for the hostages' lives and they threaten to destroy the facility and create a catastrophic environmental l disaster if their demands are not met.

A rookie agent, Jack, codename Raiden, supposedly operating under a newly reformed FoxHound, is sent in to save the day, receiving back-up from his CO, Colonel Roy Campbell, and his girlfriend, data analyst Rosemary. Joining forces with the mysterious SEAL Lieutenant Junior Grade Iroquois Pliskin (who knows more than he lets on), bomb specialist Peter Stillman (the former teacher of Fatman), an odd cyborg ninja calling itself Mr. X, tanker survivor Olga Gurlukovich (who may or may not have a secret agenda) and Otacon's estranged step-sister Emma (who helps in the programming of Arsenal Gear), Raiden prepares to take down Dead Cell, save the president and prevent a disaster. But as his mission unravels, ;Raiden begins to learn about the terrible secrets driving this conspiracy, and he may be forced to make a difficult decision that could very well put the safety of the whole word at risk.

What the press would say:

Everyone knows that video game-to-movie adaptations haven't had a good run in Hollywood . But after the success of the first Metal Gear Solid film, cared for with the greatest degree by its cast and crew, especially Hideo Kojima, a sequel was inevitable. And despite sequels very rarely living up to their predecessors, this one not only delivers - it outshines the first.

The returning cast from the first film is as amazing as ever, with Hugh Jackman's performance as Snake/Pliskin shining ever so brightly in the picture, bringing a whole new depth and magnitude never seen in the character before. The supporting cast is also amazing; Johnny Depp gives a memorable performance as the mentally unhinged Vamp, Naomie Harris' scene-stealing performance of the femme-fatale Fortune is breathtaking, while Malcolm McDowell, Nora Zehetner, and Alexis Bledel make real impressions as the morally grey Solidus, the tragic Olga Gurlukovich, and the spunky whiz-kid Emma Emmerich, respectively.

The true honor of this film's best performance, however, belongs to Cillian Murphy as the controversial character, Raiden. Despite the fans' criticism of the character when the game first came out, Murphy's performance is more than guaranteed to turn the majority's opinions around. He gives a very hard-hitting, emotional performance as the tragic hero who is manipulated and betrayed by everyone around him. Proving that he is a truly dedicated character actor, Murphy's physical and mental transformation as Raiden is so effective that he completely disappears into the character, becoming barely recognizable. And it’s also through Raiden and Murphy’s perspective that we see just how strong, smart, self-aware and gifted Solid Snake truly is. Murphy’s performance as Raiden serves as the dramatic foil for Jackman’s Snake, being wonderfully different in such a way that the chemistry between them sparks like crazy. Murphy and the intricate plot of the story work together so well, being two halves of the whole, weaving together to make a masterpiece.

The story of this film is very intricate (almost too intricate at times), but there is no bad acting, cheesiness or overdramatic moments; it's just an honest to goodness political conspiracy and military thriller with strong themes of pacifism, the meaning of existence, the pointlessness of war, the stupidity of nuclear deterrence, the dangers of nuclear weapons in general, the psychological effects of warfare on children and adults, and the motivations behind the different lifestyles people choose. The academy may be reluctant to nominate a video game-to-movie adaptation, but Metal Gear Solid 2 is not just a video game-to movie adaptation; it's a movie all on its own.

Nominations:

Best Adapted Screenplay - David Hayter and Hideo Kojima
Best Actor - Cillian Murphy
Best Supporting Actor - Johnny Depp
Best Supporting Actor - Hugh Jackman
Best Supporting Actress - Naomie Harris
Best Cinematography
Best Visual Effects
Best Musical Score
Best Costume Design

New York, Illinois

Author(s): Pierre Davis (OH)
New York, Illinois

Directed by Paul Thomas Anderson
Written by Paul Thomas Anderson

Main Cast:

Radha Mitchell as Francine Tate
Liev Schreiber as Paul Jones
Casey Affleck as John Tate
Abigail Breslin as Justine Tate
Julianne Moore as Leslie Jones
Kate Winslet as Nancy Wells
Josh Brolin as George Wells
Anna Sophia Robb as Francine Wells
Skander Amin Casper as Young Paul

Tagline: "Realize Life from New York to Illinois".

Synopsis:

Skipping Out For A Friendship: Francine Wells (Anna Sophia Robb) met Paul Jones(Skander Amin Casper) when she was 14 while skipping class in the boys’ bathroom. She heard him crying inside of the bathroom stool after being teased because of his new haircut. They become quick friends and discuss things about their life that neither one of them would tell anyone else. How Paul’s Mom Leslie (Julianne Moore) is a prostitute, he has never met his father and how he was almost sold to a pimp so his mother wouldn’t get killed or how Francine’s father (Josh Brolin) is an alcoholic who went to war in Vietnam and abuses her and her mother Nancy (Kate Winslet). They begin to make up a plan on leaving the city of Illinois. When the day comes to put their plan in effect Paul is nowhere to be found at the bus station.

Unplanned Sorry: When Francine goes to Paul’s house she discovers that he and his mother are packing up. When Francine asks Paul where they are going he says that they are going to New York City to start all over. He tells her that they say if you can make it there you can make it anywhere. Francine remembers watching things about New York on T.V.; the beautiful bright lights and parties in Times Square on New Years Eve. She wishes him luck and says that she will truly miss him. He promises that he will write and the moving van leaves while Paul is mouthing Sorry.

Reality and Fate: Francine Wells now Francine Tate (Radha Mitchell) is 32 years old now still living in Illinois working with young abused kids who mirror her childhood. She is married with a daughter Justine (Abigail Breslin) and a wonderful husband by the name of John (Casey Affleck). She stopped getting letters from Paul about a month after he moved and he claimed that the move was great and he was meeting all kinds of people. She thinks about him daily and wonders what would have happened if he would have stayed, would she be Mrs. Jones? Then all of a sudden she receives a letter from Paul again who urges her to come down so they can meet up for old time’s sake. She writes Paul back and agrees. When she arrives at the airport she looks all over for the handsome overweight little kid with the bushy brown hair only to find a fragile man in a wheelchair with pale white skin holding up his hand. When she goes up to Paul (Liev Schreiber) he lets her know that he has been living with A.I.D.S since the age of 22. They begin to reminisce about the old times and what they have been doing since they split so long ago. Paul tells her that his mother died when he was 21 after she was shot by a drug dealer for stealing. He tells her stories of his young days how he first came out to his mother and how she attempted to make him straight by tying him up to his bedpost showing him the posters of Deep Throat. He also tells her how he contracted the disease from a man he thought he was in love with, Johnny, the only man who he would have died for. He then tells Francine that maybe it was his fate since God didn’t give his mom the disease and instead him. Francine lets Paul know that her parents are stronger then ever after her father put the bottle down to keep his family and how she finally loves it in the windy city. Paul admits that he wants her to stay with him for his dying days. She tells him that she has a child and a husband but lets him know that he can stay with her in his old home town.

Not Just a New York Thing: When she tells her husband John the news his homophobic side comes out. He witnessed his mother catching his father with another man. After an argument he finally gives in not wanting the situation to get in between their marriage. Even though he knows that Paul is a good person from what he heard from Francine and that A.I.D.S can’t be contracted by breathing or touching he is still reluctant to even talk to the man. When Paul moves in he immediately becomes close with Francine’s 11 year old daughter Justine to the disgust of John. They begin a bond that brings out the little boy in Paul which was just what he needed. Everything is good with the move except that John avoids all contact with Paul even trying not to touch the same plate or door knob as him. A once almost perfect marriage has grown into arguments between John and Francine. Until one day while Justine and Francine is at the grocery store Paul falls out on the floor and starts to breathe heavily. John without even thinking rushes over to Paul to hold the fragile man. Paul opens his blue eyes and says I won’t hurt you John so why do you hurt me? John begins to cry and apologizes to Paul. Francine and Justine walks in the house to find Paul in Johns arms crying and they understand that John has finally forgave his father and most importantly himself.

What The Press Would Say:

Paul Thomas Anderson brings you one on the most moving movies in years. He directs this film straight to the podium in Hollywood and lets us know that “There Will Be Blood” was just the beginning with this beautifully written screenplay. He brings this film which is mainly about the understanding of the main characters rather than just the love shared between them. The cast headed by the breathtaking performance from Radha Mitchell from “Melinda and Melinda” is phenomenal. Radha brings the character of Francine to life with her caring nature although she has an abusive past. She lets us in with every single moment she appears on screen and should get plenty of attention after being overlooked for her work in “Melinda and Melinda“. The true breakout performance is that by the A.I.D.S stricken character Paul played by Liev Schrieber from “Scream” fame. He comes out of nowhere with this Tour De Force of a performance that mirrors that of Tom Hanks. He brings a little more depth to that of Tom Hanks and shows the pain, struggle and fight for survival. He truly is a joy to watch on screen losing over 30 pounds for this film. Casey Affleck is showing why he is the future of acting with the performance of the homophobic husband John. The scene with him and Liev will bring even the toughest man to tears. The critics will just obsess over his brave and sometimes ignorant performance. Julianne Moore is amazing in the little screen time she has as the mother to Paul, living as a prostitute and struggling as a single mother. She makes the audience wonder how the woman got like that and the critics would love to see a film about her life. The scenes with her included makes every actor takes a backseat and watch a veteran bring the one of the best performances of the year. Abigail Breslin is as lovable as always and the performance by Josh Brolin who plays Francine’s father is fantastic. He also stands out as the abusive alcoholic turned family man. With a supporting cast rounded up by veteran actor Kate Winslet also Anna Sophia Robb and Skandar Amin Casper Keynes from “Bridge to Terabithia” and “The Chronicles of Narnia” plays the child versions of Francine and Paul very well, they bring us in at the beginning of the film and keeps us there. This movie will stay on your mind long after you leave the theatre helping you understand how people can change but understanding of each other overshadows the changes that they have endured over time from New York to Illinois or any state or country.

For Your Consideration:
Best Picture: Paul Thomas Anderson
Best Director: Paul Thomas Anderson
Best Original Screenplay: Paul Thomas Anderson
Best Actress: Radha Mitchell
Best Actor: Liev Schrieber
Best Supporting Actor: Casey Affleck
Best Supporting Actress: Julianne Moore
Best Song: New York, Illinois by Maroon 5

POZ

Author(s): James Somerton (Canada)
POZ

Directed by: Tim Van Patten
Written By: Steven Knight

Main Cast:

Jeffrey Wright as Robert Pyke
William H. Macy as Anthony Ferris
Chandra Wilson as Helen Myers
Julie Dreyfus as Madeline Hawkings
Ashley MacIsaac as Christopher Gainly

Tagline: "Is It Murder?"

Synopsis: The courtroom is silent as Robert Pyke takes the stand. Madeline Hawkings, the prosecutor, stands up and approaches the bench as her client, Helen Myers, stares coldly at Pyke. Anthony Ferris, Pyke's attorney, can feel his heart racing as Hawkings prepares to speak. Madeline rests her arm on the bench and says, "Mr Pyke, was it your intention to infect my client with HIV when you slept with her?". To which he replies, "Yes."

About a year before the trial, Robert Pyke had been diagnosed with HIV. He kept it hidden from everyone, especially his sexual partners. And being an advertising executive at a major firm, he couldn't risk them finding out. The only person who knew about it was his doctor. But even he didn't know what Pyke was up to in his spare time.

Always the ladies man, Pyke was out every night, putting notch after notch in his headboard. Infecting so many women with this virus. Now sitting in a packed courtroom, the majority of the women he had infected probably still didn't know he had done it. But now the one woman who had figured it out was staring him dead in the face from across the room.

Helen Myers was anything but dumb. Having received her PHD in computer programming, she had been working for Apple Computers until a few weeks ago, when she was forced to take a leave of absence. She had found out about the infection during a routine physical and, instead of feeling sorry for herself, immediately began to track down who could have infected her. Having been good friends with a prosecutor, Madeline Hawkings, she was able to fast-track a trial once she had figure out that it had been Pyke.

But this is a trial less about Pyke's guilt than the definition of what his actions were. Helen Myers and her attorney want him tried for attempted murder while Pyke's lawyer wants the case tried as a simple case of reckless conduct. The trial proceeds with testimonies by therapists, doctors, HIV specialists, and acquaintances of Pyke's. But now the star witness, Pyke himself, is in the hospital. The HIV infection has advanced to AIDS and it is mutating rapidly. Any verdict now could be too late.

What the press would say:

"Do I feel sorry for you? No. Do I want you to die? No. But only because that would mean I'm going to die too." This line, spoken by Chandra Wilson near the end of "POZ", encapsulates the atmosphere of this film. Here we are shown characters so drawn in by their own hell that they fail to see what others may be going through. The character that most exemplifies this is Robert Pyke, an advertising executive whose freewheeling ways lead to him contracting one of the most feared diseases in the world. Played by Jerffrey Wright, Pyke relives the last year of his life as he hears testimony in a courtroom. Jeffrey Wright's performance will take your breath away as, possibly, one of the most spiteful characters in film history. His Robert Pyke is a sour man, so drawn into his own bad fortune that he feels he must spread the pain. The only way he can live with himself is to infect as many women with this "thing" that he can. He is cold and indifferent to his actions, and completely believes that he's justified. Through his flashbacks, we watch him degrade from a charming executive to a deplorable louse. Finally he is made to pay for his actions by Helen Myers, a woman who he has infected. She, unlike the other women, had been tested and put two and two together. Now she's out for his blood. In a roll that is simultaneously sympathetic and venomous, Chandra Wilson brings Helen Myers to life. When she is speaking with her attorney, or to the press, you feel terrible for her. Her life had been nearly perfect before that night she spent with Pyke. A well respected computer programmer, Helen hadn't exactly had a sex life in years so she was more than happy to take Pyke up on his offer at a singles gathering. Now she regrets it with all her soul. Contrast to this is the Helen Myers we see in the courtroom, her eyes staring holes through Pyke's cold exterior. Everything with the trial seems to be going in her favor until Pyke lands in the hospital and a mistrial is declared because he is medically unable to defend himself.

Now we finally get to see Pyke break his facade. He's dying in that hospital bed and he knows it. Now he finally realizes what he has done; that so many people are going to have to go through this because of him. Jeffrey Wright truly shines now as the pain of his body radiates from him. His performance is masterful, gut wrenching, and heartfelt. The film shifts now and we feel sorry for Pyke, or at least a little bit. He has driven everyone away from him so now there is no one at his bedside. Even his own lawyer, played to understated perfection by William H. Macy, won't visit him. Nightly visits by a gay nurse named Christopher are anything but comforting. As he writhes in pain, Christopher teases him with painkillers. "You know, if you were a gay man, there never would have been a trial. You would have been hung out to dry without any chance to defend yourself," Christopher tells him on one rainy night before administering the morphine. The next day, Pyke receives his first visitor, even though a severe throat infection has rendered him mute. Helen Myers has come to confront him face to face. The lawsuit is over and she needs some finalization. When you're watching this scene it becomes impossible to take your eyes off the screen. Jeffrey Wright and Chandra Wilson's performances here are startling. "You go through life and you see all these other people's pain. But you think your invincible. You think you're immune. Until you wake up one day and God slaps you in the face with something like this." After a deep breath, she looks back at Pyke and says, "I hate you. I hate you so goddamn much, but you can't die. Because even though you shouldn't be allowed to live anymore, you got to give us some hope. Me and all those other women. Give us some hope. That we might make it through this. You took so much away, you can at least give us that." When Helen leaves the hospital, fighting back tears after seeing her own eventual demise in front of her, we are made to sit with Robert Pyke as he silently contemplates what Helen has said.

"POZ" is a film that truly makes you think. What is the proper punishment for a man like Robert Pyke? Would time in jail really mean anything to him now? Is there really justice for this kind of crime? Screenwriter Steven Knight and director Tim Van Patten ask these big questions and leave us to answer them for ourselves. They bring us through a dark, twisting maze of flawed characters and terrible judgement, but don't escort us to the exit. We need to find our own way out. "POZ" isn't a film for everyone. It's scarier than a lot of horror movies, as it shows just what can happen to you when your a little bit irresponsible. It terrifies you, and then forces you to face the reality. It angers you by what Pyke has done. And then it makes you evan angrier at yourself when you feel sorry for him. "POZ" will stay with you for a very long time. It's nearly impossible to shake once you've seen it. Like the disease itself.

POSSIBLE NOMINATIONS
Best Picture
Best Director - Tim Van Patten
Best Actor - Jeffrey Wright
Best Supporting Actress - Chandra Wilson
Best Original Screenplay - Steven Knight