MOVIE REVIEWS

BEST MOVIE

SLEEPY HOLLOW

Dir: Tim Burton Johnny Depp / Christina Ricci / Christopher Walken / Miranda Richardson

Based on US horror classic 'The Legend of Sleepy Hollow', this is not your average Tim Burton film.
Bizarrely, though, it appears to have been written for him.
All the hallmarks are there - Danny Elfman score; pale, beautiful heroes and heroines; eyes popping out of their sockets and spinning heads.
There aren't any worm-things, though. At least, not that I remember.
Johnny Depp is Icabod Crane, a detective whose intellect rules his emotions.
Allegedly, anyway.
He is sent to a remote village to investigate a series of murders thought to have been committed by a headless horseman.
Naturally, he spends his time looking for the rational explanation, whilst falling in love with free-spirited Katrina (Ricci), the daughter of the wealthiest man in town.
Depp thoroughly enjoys hamming up his preposterous performance, and Christopher Walken, as his unnatural nemesis, has never been better.
Could have done with a line or two more, though.
The supporting cast is impressive, including Ian McDiarmid, Christopher Lee and many British stars of stage and screen.
Depp's English accent is convincing and Ricci's complex image and personality are ideal for the ambiguous romantic lead.
There are some genuinely frightening moments, and the story moves at a fair pace so pay attention - it may take more than one viewing to fully appreciate.
A typically Burtonesque comic horror, 'Sleepy Hollow' is a convincingly accomplished piece from a confident director. Excellent.

Memorable Line: "Watch your heads"

Verdict: Creepy good fun

DOGMA

Dir: Kevin Smith Linda Fiorentino / Matt Damon / Ben Affleck / Chris Rock / Alan Rickman

Following the success of 'Chasing Amy' the director who also gave us 'Clerks' and 'Mallrats' has gone for the religious epic. Okay, so this is Kevin Smith here, a man not renowned for his sense of reverence.
The plot, such as it is, involves Linda Fiorentino as the chosen one to save the Earth from annihilation by renegade angels Damon and Affleck.
They don't really *intend* to destroy everything, but they realise a loophole in Catholic dogma will enable the fallen angels to return to Heaven, which will prove God wrong and thereby negate the entire universe.
Cue unorthodox prophets Jay and Silent Bob, plus mouthy disciple Chris Rock to help Fiorentino rescue life as we know it.
Alan Rickman is a wise and wonderful angel, and Salma Hayek a most unusual muse.
All manner of obstacles - human, supernatural and otherwise - conspire to, well, obstruct... and just when you think all hope is lost... well, that would be telling, wouldn't it.
Kevin Smith's fourth film is every bit as good as we would expect from him.
Apart from that icky creature in the middle bit.
Still, as warm, funny and touching satires go, this is definite worth your attention.
Oooh, and don't miss the cameo from "God".

Memorable Line: "I bet they never told you Jesus was black, either"

Verdict: Oh my aching sides

THE PRINCE OF EGYPT
Dir: Jeffrey Katzenberg
Val Kilmer / Michelle Pfeiffer / Sandra Bullock / Patrick Stewart / Helen Mirren

I bet Disney are kicking themselves now.  After ditching Katzenberg and watching him take off with Dreamworks SKG (with Speilberg and Geffen), this is set to be another feather in his cap.  Just months after launching the first new studio in half a century, the boys have had successes with "Deep Impact", "Antz" and "Saving Private Ryan".

And now this, the Biblical epic given a thankfully unsaccharine Disney-style once-over.  Still we have to put up with the conventions (lousy songs and a fat-one-thin-one bad-guy-sidekick ratio), but the result is a pleasantly exciting effects-fest.  The story, is of course, based on the Exodus account of Moses delivering the Hebrew slaves from Egypt.  The characterisations are pleasingly three-dimensional (if the artwork, of course, isn't) but for a cartoon, this ain't half bad.

Using multiple technologies for their best advantages (CGI, animation, live-action), we are given a stunningly-presented drama with first class voiceovers from cinema's best.  Val Kilmer's Moses is a spoilt brat turned reluctant hero, and his adoptive brother Rameses is a reluctant tyrant - he wants to do the right thing, but is petrified of weakening the empire.  Michelle Pfeiffer turns in a spot-on performance as Moses' feisty wife Zipporah, and Sandra Bullock is endearingly sweet as his sister.

The real stars, of course, are the epic source story; the fantastic effects and the imaginative qualities that set this apart from other animated offerings.  There is the parting of the Red Sea - a sequence that is literally breathtaking; and a dream sequence that packs the same emotional punch as the destruction of the warren in "Watership Down".  "The Prince of Egypt" shares much with the rabbits' story, in that it is a richly characterized, realistically told story that is unlikely to be forgotten in a hurry.

As the film politely explains at the beginning, artistic license has been taken.  However, it does remain faithful to the spirit of the original story and despite some jarring Disney-isms (such as the pre-desert scenes and the appalling soundtrack), is a likeable slab of family entertainment.

Memorable Line:  "Are these your camels?"
Verdict:  A visual feast

THE EXORCIST
Linda Blair / Max Von Sydow

Twenty years on from its original inception, this powerful tale of faith, fear and redemption still has audiences cowering in their seats.  Let's get this straight from the start.  It's not a horror flick.  This is no stalk-n-slash Cravenfest where you can giggle along shouting "Boo!  He's behind you!"

Perhaps this is why the movie has been lost on so many people - who frankly don't understand it - and leaves them coming out of the cinema whingeing "Oooh, well it wasn't as scary as 'Scream'."  "The Exorcist" exists for an arguably higher purpose - it is both modern fable and character study - a suberb ensemble piece eliciting breaktaking performances from its cast and combining all the finest elements of a cinema long-forgotten in these Hollywood days.  "The Exorcist" belongs alongside such greats as "Night of the Hunter" and "The Haunting".  It is subtle, imaginitive and its horror derives from its chilling naturalism; not gory special effects (though there are plenty on view).

The plot revolves around a mother and her 12 year-old daughter Regan.  The hitherto normal child develops increasingly bizarre and ultimately horrifying symptoms after discovering a ouiija board in the attic.  At first her mother, an atheist, seeks psychiatric treatment for her child - but as the situation worsens into a terrifying (and arguably unnecessarily tasteless) scene, she turns in desperation to the local priest.  The priest calls in an exorcist, and so begins a cataclysmic battle between good and evil as they try to save Regan's very soul.  Attention is divided between the girl - by turns terrifying and terrified; her appalled and desperate mother; the concerned but battle-weary exorcist and the priest who is fighting his own battle over his lost faith.

The acting is, as mentioned before, a triumph of believability and subtlety.  The score sets pulses racing and includes long, drawn-out silences that increase the tension to unbearable levels.  The special effects are groundbreaking and if you have seen the making-of documentary, you will appreciate them even more.  The lighting is both natural and symbolic - much like "Night of the Hunter", the lighting tells a tale of its own.  The script - based on a book (in turn based on a newspaper article) - is brilliant and all the elements of the film-maker's craft are played off to the best possible standard.

So why is this film not rightfully listed amongst the best in history?  The answer, of course, lies in the intense controversy generated by its initial release and subsequent ban.  A large chunk of this is in its subject matter - despite involving real-life priests in the making of the film, certain factions of the church denounced it without even seeing it, generating a catastrophic wave of publicity that split the public firmly between scaremongers and thrillseeking teenagers.  I truly believe that this film should be viewed in its proper context - in the same, art-loving way that "The Shining" and "Alien" are currently esteemed - and not as some dare ride.  This is a touching and admittedly scary fairytale of Good versus Evil in which Good obviously, completely and rightly triumphs.  It is a story told reverently (I cannot understand the wholehearted condemnation of this film) and artfully.  There are maybe one or two scenes that ought to have been toned down, but the directors explained in the accompanying documentary that they agonised over it for months and decided to keep them on the grounds of "What could be so absolutely terrible as to provoke an atheist to beg the church to help her?"  Whatever reservations you may have, the justification is persuasive.

The real horror of this film ultimately is not in what you see, but what you don't see - half-glimpsed images in the corner of your eye.  It is the silences, not the sounds.  It is in the creeping sense of reality that pervades it - that it could happen to you.  This is where it gets you - not whilst you're watching it, but when you turn off the light and try to sleep.  It is a film that lives in you forever, and only the very sound of mind can survive.  This is why you could never release it on video.  My sister saw a copy at the age of 12 and had nightmares for years.  I saw the film at the age of 22 and had nightmares for one night.  It is a film that should always be regarded with caution - I'm not being sensationalistic here - as it impacts on a very deep emotional and psychological level.  "Seven" has nothing on this.

In short, "The Excorist" is a magnificent tour-de-force of cinema, but only one to be viewed by the over 21's.  At midday.  When you have a load of mates around.

Memorable line:  "Help me!"
Verdict:  Only for the brave.
 

EVER AFTER
Drew Barrymore/Angelica Houston

The recent spate of remade fairytales appears to be on the ascendent with this superior retelling of the Cinderella story.  Although it shares with "Snow White - A Tale of Terror" a first-rate cast and non-Disney approach, "Ever After" is lighter in tone and less disturbing than "Snow White's" dark vision.  "Ever After" takes the "Robin Hood - Prince of Thieves" road - there are no magic pumpkins in this story.  Instead, we are treated to the tale of Danielle, a bright and feisty young maiden in 16th Century France.  Her father dies suddenly of a heart attack leaving behind his new - and grief-stricken - bride Angelica Houston.  Always jealous of daddy's girl Barrymore, she takes a dislike to the girl and keeps her as a virtual slave whilst spoiling her revolting daughters (well, one's a right bitch, anyway).  A chance encounter with an incognito prince sets in motion a chain of events that forms an escape route for the put-upon heroine.  This warm, witty adventure has Barrymore perfectly cast as the tough-but-vulnerable Danielle, and Houston lends depth and humanity to her role as the cruel stepmother.  The prince may be a big girl's blouse, but he's likeable enough for a believable romance and a whole array of likeable characters (including Leonardo Da Vinci, no less) support this frothy slice of bodiced romance.  Highlights include Cinderella rescuing the prince, and the final scenes are tear-inducingly fabulous.

Memorable line:  "We'll have to give you wings"
Verdict:  Xena Fairytale Princess

X-FILES - FIGHT THE FUTURE
Dir Chris Carter
David Duchovny / Gillian Anderson / Martin Landau / William B. Davis
website - http://www.fightthefuture.com/

Special Agent Fox Mulder lives in a Kafkaesque nightmare world - the whole planet is against him and nobody believes a word he says.  Problem is, that in a very short amount of time, big scary aliens are going to take over the planet, and it's up to him and his feisty fellow FBI girl Dana Scully to save the day.

A bomb explodes in an FBI building, and seeking someone to blame, the finger points to Mulder and Scully.  For the previous five years, the Agents worked on the FBI's unsolved crimes department - The X-Files, in short, but a recent disaster has closed them down, and they're stuck with routine cop work.  At first, they're ready to accept responsibility for failing to ensure that the building was clear before the bomb exploded.

That is, until a stranger tips Mulder off that the people supposedly killed in the explosion were already dead.  Not only that, but the Agent sent in to defuse the bomb made no attempt to stop the explosion.  Worse still, the bomb was deliberately put there by someone in high places who wanted something covered up - something so terrifying, so incriminating, that they would stop at nothing to cover their tracks.

Special Agent Dana Scully trained as a medical doctor.  In five years, she has become increasingly embroiled in Mulder's bizarre quest to find his sister, via extraterrestrials with hidden agendas and all manners of geeks, freaks and weirdos.  Oh, and that's forgetting the liver-eating mutants, gargoyles, vampires and shape-shifting bounty hunters.  As far as Mulder is concerned, you can't believe anyone or anything - least of all your own eyes.

From suspicious colleagues to friends to unconsummated lovers, Mulder and Scully's relationship has grown.  Mulder has helped her to look beyond scientific dogma and make the necessary leaps of faith to help her find the answers.  Scully, on the other hand, has kept Mulder grounded, helping him to accept the fact that sometimes there just isn't an answer, and maybe that UFO really was swamp gas.

This closeness is their only chance of survival in the superb and thrilling conclusion to the gripping five-season story arc, which started off as Mulder's quest to find his sister and concludes in a battle for control of Planet Earth.  Fans of the series will be delighted to see some of their questions answered - the killer bees, the black oil and the Shadow Government are all explained in this film.  Still, in true X-Files style, we are kept guessing some of the answers, even after the final credits have run.

As a film, Fight The Future delivers on every level.  It is fast-paced, witty and exhilarating.   From the genuinely frightening aliens to the lavish sets and big explosions, it stands alone as an action thriller, whilst being an excellent companion to the successful television series.  Some moments are of nerve-shattering tenseness, even from the opening scenes, where Mulder is locked in a room with a ticking bomb.  Others, like the infamous "kissing" scene, are played with exsquisite tenderness and control, showing how delicately the Agents' relationship is played out - their method of repressing expression whilst ensuring that each is made aware how much they are loved.

The performances by David Duchovny as Mulder and Gillian Anderson's Scully are dynamite.  The way the characters have been so carefully fleshed out and developed over the five seasons comes into its own as the two main stars interact so naturally, giving always convincing and rounded performances, and bringing a tear to the eye more than once.  Martin Landau's role as a lonely, torn individual fighting to be believed (and resigned to a certain assassination) brings out again the poetic melancholy of his role in Ed Wood.   Even Well Manicured Man has more dimensions this time around - he displays for perhaps the first time that self-preservation is not his only motivation.

Although the plot and atmosphere owe more than a little to Alien and Stephen King's Tommyknockers, the sheer horror of it's gradual exposure; the fabulous set-pieces and the brilliantly jumpy timing enjoyed by all the best monster movies (eat your heart out, Mimic) makes this far more than another X-Files episode.

Memorable line: "So much for little green men"
Verdict:  Xcellent

IN SHORT

GODZILLA

Stars Matthew Broderick as an expert in post-nuclear mutations.  He is brought in when a giant lizard invades New York, having grown to Hollywood budget-proportions after the French nukes in the Pacific.  Godzilla is in fact a she, and she wants to lay eggs.  But that's not what you want to know, is it?  What's the film like?  It's a truly bloody scary film about really vicious monsters.  Next time you want to be hanging off the ceiling by your fingernails, go see Godzilla.

THE WEDDING SINGER

Drew Barrymore works as a waitress for a catering firm.  Adam Sandler is the wedding singer.  Barrymore is due to marry the bastard jerk from Hell, and wants her new buddy Sandler to help her with the preparations.  You can guess the rest.  As far as bubbly, frothy romantic comedies go, you can't get any better.  Always sweet without being saccharine, this comedy can bring a smile to the dourest viewer, and if the eighties soundtrack doesn't have you drowning in delighted nostalgia, the costumes will.  This is, in short, a great movie.  It's brilliantly funny and eccentric without being wacky.  You must see it, if only to see Billy Idol save the day!

MIMIC

There's something scary eating people in the New York subway, and only a team of bug experts can stop it.  That's the premise for this weak, if entertaining, Alien clone.  It is reasonably tense, and the actual plot is, to start with, original enough (a genetically engineered bug created to stop an epidemic has mutated and run amok) to keep us happy.  Unfortunately, it rapidly descends into a Good-Black-Cop-Dies-In-The-Third-Reel movie.  Shame.

DARK CITY

Yet another Kafka-style tale of unfair persecution, this time by Crow director Alex Proyas.  Rufus Sewell awakens in a strange hotel, suffering from amnesia, and finds himself accused of serial murder.  Unconvinced that he is responsible for these crimes, he escapes and goes on the run, trying to find out where and who he is.  Who is the real murderer and why is Keifer Sutherland acting suspiciously?  Helped by Jennifer Connelly and hindered by the sinister Richard O'Brien, the labyrinthine plot takes in aliens, time lapses, and all manner of conspiracy theories before our hero can convince himself, and the audience, that the truth really is out there.  Dark and atmospheric, a gothic treat that will bore the unimaginative.