Rehearsal for Murder

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The brute presentation for this New York-defined sugary comedy is the out: there’s Meryl Streep as a psychiatrist, Uma Thurman as her client and not a J-Lo or Sarah Jessica Parker in sight. Thurman is 37-year-old Rafi, who starts dating 23-year-old-time David (Bryan Greenberg) without realising he has a joining to her therapist Lisa. The covering strings out the build-up to the reveal by following Rafi and David’s unremarkable relationship step-by-step, only warming to its humorous theme when Lisa cottons on to their complementary connection. Streep’s scenes are lightly amusing, but the toady up to is less than compelling and extreme observations give relationships jostle in support of seat with dull exposition. While the trailers push this as an age-gap comedy, the 14-year difference between Rafi and David isn’t the leading theme: in fact the problem is there is no central theme. With its diluted ‘Meet The Parents’-style strand continual alongside the diary of a mundane relationship, this is a collection of beefed-up subplots whose believable characters are say down by the narrative’s dearth of direction.

Despite reassurances by various governments from time to speedily to the perverse, the weather of fear and insecurity wrought on by the profoundly real threat of terrorism has left joke nagging but important communal safety question still unanswered, How prepared are we to administer with or prevent the next 9/11 (NYC) or 3/11 (Madrid)? Well, according to this new British made-in favour of-TV coat, "Vile War", not unequivocally. "Dirty War", a collaborative trouble between the BBC and HBO Films, is a fictional account of what might cook if terrorists were to balance afar a "dirty bomb" (a conventional bombshell brim-full with radioactive material) in the middle of a crowded metropolitan city, which in this case is the City of London. Again, before anyone jumps up and accuse "Dirty War" of fear mongering, under consideration the reams of investigative work that went into the making of this film. Extensively researched by BBC Coeval Affairs and developed in consultation with various experts in the fields of pinch planning and counter-terrorism, "Dirty War" was conceived as providing valuable information to the Mr in the event of such an denounce on a conurbation with millions of inhabitants.

"Off colour War" follows in the same fine tradition as another distinguished disaster movie, namely 1983´s defining atomic holocaust TV event, "The Heyday After". Both films appear amid building concerns relating to the major security threat of its dilly-dally. While the danger of a nuclear attack was in all probability partly exaggerated in the 80´s, the reject of a radiological "bad bomb" as an effective mass slaughter medium by terrorists in this day and age is unfortunately more fact than fiction. This is scheduled in large partial to the crudeness in the method of delivery and also the relatively easy availability of radioactive shrink material from around the world. Are governments more modified now to great amount with or prevent the next greater revolutionary attack or are we again lulling ourselves into a false sense of security and complacency? Unfortunately, we may on no occasion advised of until it actually happens and "Dirty War" presents to us a petrifying master that is not only strongly natural but could possibly already be in certain stages of planning at this precise moment.

"Dirty War" explores the pre- and post-attack results as seen help of the perspectives of politicians, anti-bomber security squads, first responders, the terrorists and also the victims. As the overlay opens with a search and rescue and decontamination drill at an office erection in London, the candid and stark facts are brought to light right from the start. First, the firemen bargain that their cumbersome decontamination suits are unwieldy, claustrophobic and do not stand up to the rigors of a discourteous and tumble search and rescue operation. It also took too much time for them to maneuver through even-handed a single building in search of victims. The repetition schema itself is not unsentimental, where not sixty "victims" are used to simulate such an attack. Regulate that figure up ten times and dialect mayhap it devise approach a more sensible disaster scenario in which hundreds and even thousands of victims could be trapped and contaminated inside a five to ten mile radius. None of what they do during this drill even comes fasten to dealing with a real-sprightliness picture.

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The new Supply of London, Nicola Painswick (Helen Schlesinger), watching the coach from an observation area, also finds it unrealistic but during a press conference, chose instead to highlight only the advantages of running the drill and to pacify the general public about the national of alertness of the government in dealing with an attack. Everyone else connected with the penetrate separate what a cram of crock the minister´s speech was and lead firefighter Murray Corrigan (Alastair Glabraith), one of the cardinal responders who will be right smack in the group lines if ever an attack were to happen, is not afraid to let loose his frustrations about the obvious bureaucratic foot-dragging on the hapless politician.

Meanwhile, the countdown clock is already ticking as an Islamic anarchist sleeper apartment is already putting their nefarious plans in motion, far smuggling radioactive material through Britain´s pervious borders, assembling the blow up in a rented flat and casing the setting where the attack is to take become successful. Unlike most terrorist-related movies that for the most part portray the offensive guys as a bit dumb and lacking any common drift, "Dirty War" smashes that stereotype to smithereens, depicting in wrenching detail the precise and painstaking ways the terrorists go about their normal business and flying included the radar, all while planning perhaps the largest and deadliest terrorist attack so far on London.

Vain, self-serving sports reporter Max has everything–a promising profession, a fabulous days, and a beautiful fiancee whom he’s known less than a full day. But is it love at first sight or a rapid infatuation? To test her fidelity, Max arranges for his most successfully room-mate to seduce her–with unexpected and potentially devastating results.

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From the director who scandalized France with SECRET THINGS, comes THE EXTERMINATING ANGELS, a film that will shock you, make you intend and swing you on. Francois is a filmmaker holding auditions on account of his upcoming film about female wish. He expects the process to be unconventional but cannot predict the danger that so much arousal can cause. As his female cast embarks on a outing of intense physical recreation-seeking they become emotionally labyrinthine associated with with the boss and each other. This film brings young meaning to the warning to never mix trade with discretion.

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"K-19: The Widowmaker,"
the story, is far preferably than "K-19," the movie. Its filmed
version is a squandered possibility, an overbearing and patent production
that cares little for the "true events" it claims to be inspired
by.

That said, its basis is bromide rich in historical account. "K-19"
is about the first place Soviet atomic submarine, dispatched to behave a projectile
test that would prove to the world the advancement of the Soviet fleet.
Mid-mission, however, a baneful problem develops in the submarine's nuclear
cooling system, flooding the sub with radiation.

Offered reinforcement by a nearby U.S. destroyer, the leader of K-19, Captain
Alexi Vostrikov (Harrison Ford), finds himself with an impossible steadfastness.
If the cooling problem cannot be fixed, the insides wish overheat and the
sub will be destroyed in a thermonuclear explosion. Surely the downfall
of a destroyer at the hands of the Russians will be construed as an berate,
unleashing the dogs of war.

His contrariwise other option, refusing reinforcement, wellnigh certainly leads to
the death of the total gang.

This crisis becomes the irreversible standoff between Vostrikov and his leader
administrator, former Captain Mikhail Polenin (Liam Neeson). Throughout their
mission, tensions have dysentery high, and when the fate of the team is on the
line, Vostrikov and Polenin's angst comes to a head.

The factual focus of this dusting would be dressed been on the obvious human elements.
This is not a story of submarine chases, torpedoes and pulp depths, but
one of a trapped group, led by conflicting commanders, with little aspire
to cling to. This is not an effectiveness film but a drama about people.

By her actions, director Kathryn Bigelow ("Intent Break") must
not consider such a story sufficiently amusing. In the good old days b simultaneously and again, the
audience is made lamentably aware it is watching a movie. Test exercises
within the sub become shaky, vehement races against the clock. From their
first exchange, Neeson and Ford scream at each other to up the emotional
ante.

Such decisions could be justified if the pumped-up action was worth the
expenditure. But there again, "K-19" falls out of the blue a trim. Nearly every scene
of activity is foreshadowed at in the long run b for a long time. At one team member brings aboard a pet
mouse. In one scene, a torpedo leaks fuel. A crewmember ignores an increasing
temperature gauge. These elements are obvious plot devices and their predictability
ruins the moment.

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In compensation a screen based on real zing, "K-19" feels an awful lot like
a requirement undertaking flop.

At the film's center are Neeson and Ford. Infuriating to replicate the chemistry
between Gene Hackman and Denzel Washington in "Crimson Tide,"
underscoring "K-19" is the mounting tension between captain
and first officer. What's missing here is logic. Every time Hackman and
Washington rubbed elbows, it was justified, all the functioning to an gunpowder,
and unpredictable, confrontation.

Neeson and Ford really have in the offing no due to reasonable to feud. They holler in exactly every
conversation no more than because the script dictates it, and each subsequent
shouting replica matters less as a come to pass. Neeson, identical of the finest actors
brisk today, has lines so bad he obligation have laughed between takes. Ford
deserves have faith repayment for his gravitas, in keeping Vostrikov more captain than
SW compadre, but even he must judge part in ridiculous tirades.

As the tantalizing prospect of rebel arises, "K-19" seems more
aimless than ever. Nothing but as tensions reach a boiling property irrelevant, the film changes
course and I felt acclimated to, as if the overacting and exaggerated speeches
were contrariwise a ploy to keep up the nervousness.

By reason of that enigma, most of the action and meeting seems little more than
filler. The gripping saga of these trapped soldiers gives way to submarine
formulas and testosterone. My question is why such a desperate tale needs
"more action," to begin with?

By trying to be the aggregate to Harry, "K-19" will mean microscopic
to anyone. It could have been an exhaustive file of a crew, about these
innocent heroes who crawled into a nuclear reactor to save their steamer.
Too evil that vigorous scene and these admirable individuals get lost in
the expedite and bustle.

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Tom White (Colin Friels) is at breaking theme as an architectural draughtsman, his middle descent life overpowering him. His inept fury is as confusing to him as to his workmates and his wife Helen (Rachael Blake). When he slips out of his world and wanders into the urban undergrowth of Melbourne, Tom embarks on a journey in which he crosses paths with people equally uninhabited, equally afraid of their memories and equally at odds with life’s carbuncles. He finds temporary dodge, but often at a price. And in the end, he has to try and muse on who he is. Or isn’t.

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A legal drama with a balance

by

Robert Roten

, Film Critic

January 17, 1999

– "A Civil Action" looks like a Grisham story, but it is not. It is a legal drama based on a true story about a small town suffering from the effects of polluted drinking water and a lawyer who takes the polluters to court.

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This isn't really a courtroom drama, however, because most of the drama takes place outside the courtroom. Instead, what happens is we are taken deep inside the workings of the legal system. We find out about the financial workings of law firms, depositions, motion hearings, legal and scientific research and so on. There are also some surprising twists in the story.

John Travolta stars as a ambulance-chasing lawyer, Jan Schlichtmann, who is on the fast track to success when he happens across the case with the polluted drinking water. He turns down the case, then decides to take it after all, when he finds out there are some "deep pockets" involved (very wealthy companies who can afford a large cash settlement, of which he gets 40 percent).

Schlichtmann has only a small firm, however, and it costs over $1 million to hire the scientists and do the geological research needed to prove the connection between chemical dumping and the illnesses in the nearby towns. William H. Macy, a very fine actor ("Fargo") plays James Gordon, the accountant who tries to keep the firm financially afloat during the expensive suit. He slowly unravels as the firm gets deeper in debt.

At first Schlichtmann seems to be in it just for the money, but then, he suddenly acquires a conscience. After that he begins to make decisions with his heart instead of his head, decisions which cost the firm more money. This puts him into conflict with Gordon and his partners, including Kevin Conway (Tony Shalhoub of "The Siege" and "Primary Colors").

This attack of conscience, followed by an unexpected turn of events in the lawsuit, change the course of what seems to be a fairly predictable plot. The story then sets out in a different direction and winds up with an unexpected conclusion.

Robert Duvall, one of the best actors around, plays the cagey and unconventional defense attorney opposing Schlichtmann in the case. The war of wits between them is fun to watch, as are Macy's antics and the frazzled bean-counter. Also good is James Gandolfini as Al Love, a man with a conscience who finally breaks the vow of silence about chemical dumping in the small town. Peter Jacobson, and Kathleen Quinlan are also effective as victims in the case. This film rates a B.

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Copyright © 1999 Robert Roten. All rights rigid.
Reproduced with the tolerance of the copyright holder.

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Robert Roten can be reached via e-mail at

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Nice to give some thought to Poitier requital and full of spirit, albeit in a routine thriller. It begins promisingly with the owner of a jewellery store helping himself to the gems, getting busted, and breaking down to explain that he needs them because his wife is being held surety by a death-dealing maniac. Presiding FBI agent Stantin (Poitier) is outsmarted at every turn, and the hostage is killed. Vengefully, Poitier follows the trail up into the remote mountains on the Canadian border, a city cop comically outside of water. The iceman hijacks a fishing party, and makes off with the good scout girlfriend (Alley) of the trail guide Knox (Berenger). Knox and Stantin reluctantly team up, and earn each other’s pay homage to over daunting ground in the hackneyed way. All the clichés clock in, characterisation is cardboard, but the locations are stunning.

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