June 2024



Chocolat (2000)

chocolatDIRECTOR: Lasse Hallstrom

CAST: Juliette Binoche, Johnny Depp, Alfred Molina, Judi Dench, Lena Olin, Carrie-Anne Moss, Hugh O’Conor, Peter Stormare, John Wood, Leslie Caron, Victoire Thivisol


Chocolat is a fluffy dessert rather than a full banquet of cinematic depth, but if it stays on the side of being a trifle insubstantial, it’s still a delightful confection that whips light humor, a dash of romance, and food porn into a cute, safe little feel good movie that goes down as pleasantly and as easily as a cup of hot chocolate. Continue reading

The Sixth Day (2000)

6th day 2DIRECTOR: Roger Spottiswoode

CAST: Arnold Schwarzenegger, Tony Goldwyn, Robert Duvall, Michael Rooker, Michael Rapaport, Wendy Crewson, Sarah Wynter, Terry Crews, Rodney Rowland


The Sixth Day is a prime example of how an intriguing sci-fi premise can be squandered in the service of a generic action flick.  There is fertile ground for all kinds of ethical dilemmas and fascinating scenarios here, but the team assembled is not up to the task of bringing them to the screen.  And even for Arnold Schwarzenegger fans who only care about seeing the big guy kick some ass and take some names, The Sixth Day is lackluster.  Schwarzenegger has previously starred in a couple great sci-fi action thrillers–1984’s The Terminator and 1991’s Terminator 2–but he doesn’t continue that success here. Continue reading

X-Men (2000)

DIRECTOR: Bryan Singer


Hugh Jackman, Patrick Stewart, Ian McKellen, Anna Paquin, Halle Berry, Famke Janssen, James Marsden, Bruce Davison, Ray Park, Rebecca Romijn, Tyler Mane


Since the X-Men comic book series was first introduced in the 1960s, it has been one of Marvel Comics’ most consistently popular titles. It had already been an animated television series, and it was inevitable that it would be made into a feature film sooner or later. Now that it has been done, its loyal fans are probably a little divided over it. Some will appreciate writer-director Bryan Singer’s faithfulness to the source material and his serious effort to transfer it from page to screen as intact as possible. But with any large following, it is impossible to please everyone, with the most minor alterations leaving some outraged. Personally, as someone who collected X-Men comics when younger, I approve of Singer’s respect for the mythos and characters, but it’s been too long since I’ve read the comics to even know most of what was changed or left out, and in any case it doesn’t bother me. A comic book series which carries on for decades and thus can include endless complex interweaving plotlines and a vast array of characters and a two-hour movie are different mediums. Singer keeps things simple and straightforward; one doesn’t need familiarity with the source material to understand and enjoy the film. X-Men is essentially comic book action-adventure fantasy escapism, but an embedded social message about overcoming fear and hatred lends it a touch of depth beyond just a summer action flick.

The premise is that mankind has begun evolving into mutants with superhuman powers which cannot be explained or understood by the average person, and as such are largely feared and even hated. And among the mutants, battle lines have been drawn between two ideologically opposed groups. One is led by the psychic Professor Charles Xavier (the commanding Patrick Stewart, who even looks like the comic book character), who runs a school for ‘gifted students’ in New York, actually a place where mutant children can come and be taught to hone their powers in an accepting and encouraging environment. Xavier has hopes that mankind will come to accept mutants in time, and also uses the school as a cover for the secret base where he and his team of likeminded mutants try to counter the other, less benevolent group led by Xavier’s old friend Erik Lensherr/Magneto (Sir Ian McKellen). Embittered by his childhood experiences in Nazi concentration camps, Erik/Magneto has no faith in humanity and has come to view himself as superior to them. His disgust for mankind’s bigotry is only reinforced by the McCarthy-esque Senator Kelley (Bruce Davison), who incites fear of mutants and is pushing discriminatory legislation. Xavier’s team is made up of the telepathic Jean Grey (Famke Janssen), Cyclops (James Marsden), who shoots laser blasts from his eyes, and weather-controlling Storm (Halle Berry in a white wig). Newcomers to the group are Rogue (Anna Paquin), who drains the life force—and absorbs the powers—of anyone she touches with her bare skin, and the mysterious Wolverine (buffed-up Aussie newcomer Hugh Jackman, whose accent slips once or twice). Wolverine gets the most screentime of anyone, and has the most shadowy back-story; obviously the victim of extensive and horrific experimentation, he has had an indestructible metal grafted onto his entire skeleton, giving him the ability to grow metal spikes out of his hands. Magneto’s group includes the shape-shifting Mystique (an unrecognizable Rebecca Romijn), Toad (Ray Park, best-known as Darth Maul in Star Wars Episode I: The Phantom Menace) who has a nasty way with his tongue, and the hulking Sabertooth (professional wrestler Tyler Mane)…and they’re up to something. The loner Wolverine and the teenage runaway Rogue must decide whether to embrace Xavier’s offer of help—and his cause—or continue on their own.

X-Men should please most fans by showing off each character’s powers, but has received some criticism for focusing more on Wolverine, Magneto, and Rogue than anyone else. That may be a legitimate criticism (although the above three are also for my money the most three-dimensional and compelling characters), but it already has a large cast of characters and focusing on all of them equally would bog the movie down. As it is, it already spends almost half its running time on exposition and character introduction and development, which for the introductory outing may have been a necessary evil. With special effects-heavy action sequences and an undercurrent of humor, it is likely to entertain most theatergoers, and keeps the characters, their powers, and the plot easy to keep track of.   X-Men’s tone, while occasionally hitting a surprisingly poignant moment, is fairly lightweight, and it focuses more on the origin aspect than the plot, which leads to an action-packed climax but keeps fairly modest goals. X-Men doesn’t aspire for the epic, and it lacks the ambition and scope of Superman, but it’s entertaining and fulfills what it sets out to accomplish. All of the actors do well enough in their roles, especially Ian McKellen, Hugh Jackman, Anna Paquin, and Patrick Stewart, but the others are not given too much to do.

A few qualities raise X-Men above mere comic book escapism. One is the casting of Patrick Stewart and Ian McKellen, whose commanding and dignified presences bring a touch of class and grant the movie a little needed gravitas. Another, probably most significantly, is the underlying theme of tolerance and accepting differences which runs throughout the movie, never too overt or preachy to interfere with the action sequences and special effects, but never far under the surface either. The big brother-little sister type bond between the gruff but ultimately humane Wolverine and the lonely and alienated Rogue has a touch of depth, and Anna Paquin effectively projects the pain and loneliness of being cast out from society for being different.  Hugh Jackman, an Aussie unknown in the States, is likely to launch himself into budding heartthrob status and embodies some trademarks of the comic character (he chomps on cigars and says “bub”).  Jackman has the charisma to be as close to a main “star” as we have, though he’s also given the most central attention.  Thus, while X-Men can simply be enjoyed for the action-adventure escapism it is, it, like the comic series, is fundamentally an allegory for the struggles of minorities facing discrimination and hatred, and the symbolism, both on the page and the screen, isn’t hard to see. Also adding complexity is the fact that while Magneto’s plan might be a little silly (it involves building a machine to transform all the world leaders gathered for a summit on Ellis Island into mutants) Magneto himself is not quite your standard issue comic book megalomaniac. He is a bitter and cynical man who has lived through the horrifying levels intolerance can reach and is resorting to extreme measures to protect himself and his people, and McKellen and the filmmakers portray Magneto as more misguided than evil, and more three-dimensional than the villains we typically expect to see in comic book movies.

X-Men’s maintaining of the comics’ emphasis on the plight of minorities is unsurprising considering that its young writer-director, Bryan Singer, who made a name for himself with 1995’s The Usual Suspects, is both Jewish and gay (Singer also directed the far darker and disturbing Apt Pupil, which also featured Ian McKellen and Bruce Davison). Both Singer and the also openly gay Sir Ian McKellen have commented in interviews that the mutants’ struggle for acceptance striking a chord with their own backgrounds was what attracted them to the film. If embedding a message of tolerance inside an action-packed summer flick will get more people to hear it, so be it, although many will likely only be dazzled by the special effects and action scenes and not read between the lines to get the underlying point. In any case, whether you see it as a call for tolerance or entertainment or both, X-Men serves as solid escapist fantasy with an underlying message of acceptance and understanding that’s as relevant today as ever.


The Patriot (2000)

patriotDIRECTOR: Roland Emmerich

CAST: Mel Gibson, Heath Ledger, Jason Isaacs, Joely Richardson, Tcheky Karyo, Chris Cooper, Tom Wilkinson, Lisa Brenner, Rene Auberjonois, Adam Baldwin, Gregory Smith


With The Patriot, one gets the feeling screenwriter Robert Rodat was trying to do for the American Revolution what he previously did for WWII with Saving Private Ryan.  To an extent, he deserves credit, as The Patriot is, oddly enough, virtually the only big-budget Hollywood film portraying the Revolutionary War.  Alas, the man in the director’s chair here is not Steven Spielberg, but Roland Emmerich, he who leaves no cliche unused.  The Patriot is a marked improvement over its immediate predecessor on Emmerich’s filmography, 1998’s Godzilla bastardization, but features too many “a film by Roland Emmerich” hallmarks to be the true great war epic it clearly fancies itself. Continue reading

Shaft (2000)

DIRECTOR: John Singleton


Samuel L. Jackson, Vanessa Williams, Christian Bale, Jeffrey Wright, Toni Collette, Richard Roundtree, Ruben Santiago-Hudson, Dan Hedaya, Busta Rhymes, Daniel von Bargen, Pat Hingle, Josef Sommer, Philip Bosco, Mekhi Phifer


Shaft originally hit the screens in 1971, at the height of the ‘Blaxploitation’ era, with Richard Roundtree starring as ‘the black private dick who’s a sex machine to all the chicks’. Almost thirty years later, John Shaft made a return to the screen- sort of. Continue reading

Where the Heart Is (2000)

DIRECTOR: Matt Williams

CAST: Natalie Portman, Ashley Judd, Stockard Channing, James Frain, Dylan Bruno, Keith David, Joan Cusack, Sally Field


Based on the novel by Billie Letts, Where the Heart Is is as unabashed a “chick flick” as they come, but while at times a little too contrived and saccharine, it manages to be a pleasant and enjoyable “feel good” experience almost in spite of its own narrative contortions. Viewers of both genders should walk away with a smile on their face, even if they admit it grudgingly.

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Return to Me (2000)

It Pod to Be You: Episode 17 - Return to Me — Talk Film Society

DIRECTOR: Bonnie Hunt

CAST: David Duchovny, Minnie Driver, Carroll O’Connor, Bonnie Hunt, James Belushi, David Alan Grier, Robert Loggia, Joely Richardson


Return to Me, from writer/director/co-star Bonnie Hunt, is an unabashedly old-fashioned romantic comedy-drama that might be a little too tame and sugary-sweet for cynics or viewers seeking something more “edgy” but will be a welcome counter-programming for viewers seeking something refreshingly warm and gentle and unabashedly “feel good”. It’s the kind of movie one could almost imagine (apart from some minor raunchy elements) being made in the 1950s starring the likes of Doris Day and Jimmy Stewart, but for those who appreciate kinder, gentler romantic comedy-dramas, it’s an enjoyable and pleasant morsel that goes down gently and easily, suffused with an almost impossible-to-dislike warmth and a dash of quirky but subdued comedy.

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