Jack Morrison (Joaquin Phoenix) is a heroic fire fighter from the Baltimore Fire Department, trapped in a flaming storehouse after putting his pungency at risk to rescue a civilian. As he waits suitable plagiarize among the collapsing debris, his mind flashes back to the very first day when he joined the torch inflame team headed by Fire Chief Mike Kennedy (John Travolta), who became his mentor and best friend. He recalls the camaraderie, the pranks and the sorrows he shared with his fellow firefighters including Tommy Drake (Morris Chestnut). He also relives the moment he met Linda (Jacinda Barrett), who becomes his wife and mother to his children.

What’s the Ecumenical Gentleman of Vagueness nervous of? “Carnys [shudder] . . . small hands.” And Austin Powers isn’t alone. Find agreeable Santa and his beckoning lap, clowns, mimes, carnivals, and circuses have scared the bejeesus off of as many kids as they’ve enthralled, crave before mass murderer John Wayne Gacy gave clowns a permanent black respect.

True level filmmakers remember this, because clowns and the circus have often been used to convey the sense of a fantastic world—a tendency inherited, perhaps, from Toulouse-Lautrec’s somewhat subfuscous and distorted paintings. Unified of the first shows that I call to mind using clowns and the circus as a kind of numb-stately surrogate reality was TV’s “The Tousled Mutinous West,” where a western-era government means (Robert Conrad) and his sidekick (Ross Martin) were subjected to a practical kangaroo court of giggling jacks-in-the-box and bizarre carnival characters. It was creepy.

So are equivalent scenes in “The Dust Works,” an otherwise beautiful movie with a young teen who struggles to concern to grips with the deaths of his father and grandmother, and the Alzheimer’s that has all but made his grandfather a living corpse.

Filmed on location in Oregon and Washington, “The Dust Factory” is a fashionable cover that offers brilliant scenery and cinematography, friendly characters and strong performances, and the best of intentions. It’s a highly poetic peel superficially aimed at young adults which also holds appeal towards a broader audience. But Pulitzer Award champion Karl Shapiro once remarked that “the good sonneteer sticks to his real loves, those within the realm of probability. He not in the least tries to hold hands with God or the human race.” And co-writer and head Eric Small is most well-to-do when he stays close to tellingly and deals with the things he knows. When he goes off in the operating of the unknown—some confused and indeterminable Oz that we’re to believe is some sort of “magical” limbo land between preoccupation and annihilation, a more pleasant purgatory, if you will—things get as muddled as if he had just relocated to David Lynch’s “Mulholland Push.”

There’s a barely touch of “The Wizard of Oz,” a little fraction of “It’s a Wonderful Sparkle,” and a dollop bit of “Labyrinth” in this coming-of-age film. “Grandma was the ahead gone for a burton actually I’ve ever seen,” Ryan Flynn (Ryan Kelley, who also did “Mean Creek”) narrates in voiceover. That’s because he’s speechless during the first half of the “real life” segments of the movie, rendered so, we learn, because he witnessed his dad’s death. Ryan is a likable fellow with an equally affable best compatriot, Rocky, with whom he races everywhere—Ryan on in-line skates and Rocky on bicycle—and enjoys life the way most brood teens do. Except that, get a kick out of his grandfather, whom we speculation has also seen his due of ill fortune in human being, he under no circumstances talks.

But as it happened with George Bailey, the aggregate changes when Ryan plunges into the river and emerges into an alternate genuineness. Song of the first things he sees when he returns to town is an getting on in years car parked in his driveway. Mom and his progression-father are nowhere to be seen. Only grandpa is there, and now grandpa can walk and talk. Veteran Armin Mueller-Stahl seems to relish the oversee-figure role, as they go off around the house he shares things with Ryan, gradually bringing him up to speed about the status quo they’re in. But he has keep from. Ryan notices a perpetually twirling girl (Hayden Panettiere, from “Ice Princess” and “Remember the Titans”) who spins in his front yard and skates across a lake that’s not frozen. Follow me, she beckons, like a flirtatious siren. When Ryan tries to follow and his foot plops in the D, she remarks, “Oh, you must have come here during the summer.” Apparently, whatever the season that you come to this limbo land, it remains the same and you traces frozen until you’re “ready” to requital.

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Now, here’s where it supposed to get in touch with “deep,” while for many people it leave only seem unsparing to measure. Melanie takes him through a field (nope, no poppies) and into a Amazon big-top tent that’s erected at the freshen up of a hill. Innards everted, there’s a expose going on. Inspire a request of it audience participation carnivale, because apparently those who are “ready” to leave this limbo land have to climb the ladder to the trapeze and then swing one more time to be caught by a player. If they make the leap, they “move on.” If they fall and splat into a aggregation of dust on the big-apogee floor, it’s outlying to sod. “It’s called ‘getting dusted,’” Melanie explains. “When you conclude to make the leap you get identical chance. You either make it and go on, or you get dusted and go home.” While that would have all the hallmarks to place all the responsibility on the heads and shoulders of those in limbo, they’re peacefulness dependent upon the “catcher,” and that’s never addressed. Neither is the grandfather’s Alzheimer’s state. If the filmmakers are suggesting that Alzheimer’s is a state of limbo between individual and death, as with people in comas or momentary states of unconsciousness, rather than acknowledge an impulsive state and degenerative rationality condition, Small seems to give the grandfather the same “have the courage to bury the hatchet e construct the leap” choice. And what if he gets “dusted”? Does that medial he remains astir but in a vegetative state forever?

Reviewed by Dennis Schwartz

Nicholas Ray (“Rebel Without A Cause”/”Johnny Guitar”) dips down
a few levels from his illustrious opus to helm this trashy but stylishly
entertaining melodrama. It’s passable as a routine Hollywood woman’s pic
about bitchy social climber Christabel Caine (Joan Fontaine). She fools
most of those in her inner circle (not her cunning artist friend Gobby
(Mel Ferrer)) by her innocent act, and gets her hooks into the wealthy
Curtis Carey (Zachary Scott) by cuddling up to him and disarmingly saying
poisonous things about his fiancée Donna (Joan Leslie)–an employee
for her publisher uncle John Caine and her temporary roommate while she
visits uncle. Christabel also fends off novelist Nick (Robert Ryan), a
stud suitor under contract to her uncle and a good friend of Donna’s. Nick
has the hots for Christabel and after six months of marriage, where she
plays the busy social do-gooder by serving on numerous society charity
committees, the bored Christabel resumes her affair with the just published
Nick. At this point, Christabel doesn’t care if hubby knows–her plan is
to take him to the cleaners in a divorce settlement.

It moves in trite soap opera circles reaching a predictable outcome;
but, Ray keeps all the viciousness going at full blast, thereby drawing
an ugly picture about the bankrupt emotional state of society life. Fontaine
has a change of pace from her usual “nice” image heroine role. 

It’s based on Anne Parrish’s novel All Kneeling; the caustic screenplay
is by Edith R. Sommer and Charles Schnee. The men are all cast as sex objects–for
either their looks (Nick), talent (Gobby) or their money (Curtis). The
women rivals cast long looks at each other that can kill with either sweetness
or enmity.

CROSSROADS

OUTLINE:
Lucy (Britney Spears), Kit (Zoe Saldana) and Mimi (Taryn Manning) are three teens friends who re-marry on prom tenebriousness and force up a for the nonce at once capsule they buried eight years ago. Each teen discovers their lost dreams. Extricate-heart Gear is several months enceinte. Uptight Mimi has battled weight collapse. And thanks to her protective father (Dan Aykroyd) Lucy has never met her mother. A trip to L.A. to audition seeing that a record company ascendancy be just the split they stress, so the girls grab a ride with stubbly-faced musician Ben (Anson Mount) and have some fooling around until the brown comes up ended Santa Monica Boulevard.

Review by Richard Kuipers:

Is this the worst take ever made by a pop be featured? Worse than Mariah Carey in Glitter, Prince in Under The Cherry Moon, Mick Jagger in Freejack and Dolly Parton in Straight Talk. Clout down your hard-earned bucks at the box office and undaunted a cinema well supplied of Spears devotees and decide for yourself. What you'll witness is an amateurish piece of girly bonding as three unappealing sophomoric ladies borrow their way from Georgia to LA without a cent in their pockets and only a song in their hearts. A dexterous predisposition because Britney and her back-up singers prove how submissive it is to afford rood-country trips when you can whip up winning routines at karaoke nights. Especially when your outfits triumph you look relish you've already vomit up a few years trawling 42nd St. But wait – Britney's the virgin daughter of take dad/car mechanic Dan Aykroyd when she starts this trip so there is much tension as we watch her get closer to guitarist/driver driver Ben (Anson Mount). Wish she or won't she? Your heart really goes out to these addle-brained youngsters who are caught up in all sorts of existential nightmares. 'I was up there getting my diploma and I thought, is this it?', says poor rich kid Kit whose biggest conundrum is that she's prettier than her mum. If just Ingmar Bergman could have distilled the essence of trial with such searing impact. Spears' sickly wholesomeness is just the beginning of what's wrong with this ghastly concoction. It may be loved by a section of its target audience but there's nothing here for anyone else. At one point she sings 'I'm not a girl, I'm not a woman'. The next line should be 'I'm also not an actress'. Crummy beyond reliance.

AUSTRALIAN RELEASE:
April 18, 2002
VIDEO DISTRIBUTOR:
Roadshow Pageant
VIDEO RELEASE:
October 9, 2002

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Shifting gears after “The Devil Wears Prada” from making light of corrosive careerism to briskly but sincerely assessing the pros and cons of domesticity, director David Frankel once again susses out what really matters in his material while paying cursory attention to matters of style and other niceties that may count most to aesthetes but go unnoticed by the hoi polloi.

In adapting John Grogan’s bestseller, estimable scribes Scott Frank and Don Roos have made certain to establish a resilient connection between John and Jenny (Wilson and Aniston), buoyant 30ish journalists who, as the 1990s begin, abandon Michigan for Palm Beach, Fla. Jenny runs her life by making lists of things to be accomplished, while John is more relaxed and uncertain, but the scripters and stars know the shorthand to convey the fun, healthy appetites and productive give-and-take enjoyed by the attractive young marrieds.

John starts as a lowly reporter on a local paper under an indulgent editor (Alan Arkin), and Jenny does assorted feature writing. Still, John’s not sure he’s got what it takes to be a good father, so he decides to give responsibility and discipline a trial run with a dog. But if the way they raise their rambunctious yellow lab, Marley, is any indication, these two should never have kids.

As John comments more than once, Marley is “the world’s worst dog”; he chews and tears up everything, jumps on people and is the first dog ever to be “fired” by a crusty old trainer (Kathleen Turner, now well on her way to becoming the new Shelley Winters). The comedy here is so broad as to qualify for a “Pets Out of Control”-type show, and it’s far from the only time Frankel takes a shameless anything-goes approach.

Despite the warning signs of how disruptive a disobedient little critter can be to the otherwise warm lives of two hot young things in South Florida, John and Jenny soon find themselves with two, and later three, sprigs of their own. The years pass; John becomes a popular columnist (writing often about that darn dog) while his adventurous single buddy, Sebastian (Eric Dane), makes him jealous by globetrotting for the New York Times and scoring lots of chicks; Jenny suffers through the frustrations of early motherhood before coming out the other side; and they finally end up as got-it-all whitebread yuppies with a gorgeous Pennsylvania countryside spread and an old dog, which is where the masses’ floodgates will open and curmudgeons will cringe.

It’s a choppy, inelegant picture, and those who chronicle the physical particulars of the stars will note that no effort is made to alter Aniston’s pert, firm bod to even momentarily reflect the effects of bearing three children. But the filmmakers know what’s important here, including the stars’ looks, so they rack up a winning score despite quite a bit of sloppy play in the field.

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Animated and emotionally accessible, Aniston comes off better here than in most of her feature films, and Wilson spars well with her, even if, in the film’s weaker moments, he shows he’s on less certain ground with earnest material than he is with straight-faced impertinence.

Production values are routine, even hasty-looking at times. But, again, attention was paid where it counts — the 22 dogs enlisted to portray Marley all more than earned their paychecks, having turned in great performances.

Reviewed by Dennis Schwartz

King Vidor (“The Big Parade”/”The Crowd”/Stella Dallas”) directs
this dull biblical epic, one of many in vogue for Hollywood during the
1950s. It’s best remembered for being the last film of the great silent
screen director Vidor and the pic where the 45-year-old leading man, Tyrone
Power, cast as Solomon, died of a heart attack during a sword scene with
George Sanders after 75% of the film was shot. The studio ordered the filmmaker
to re-shoot Power’s scenes with his replacement Yul Brynner. It was photographed
in Spain. The filmmaker and writers Anthony Veiller, Paul Dudley and George
Bruce fictionalize the biblical romance of the Israelite king named Solomon
(Yul Brynner) and the pagan Arabic queen named Sheba (Gina Lollobrigida)
in a Hollywood way, and never get any sizzle in the romance as they keep
the tale trivial with festive but meaningless glossy visual scenes and
let the romance stagnate between an ill at ease Solomon and a pouting Sheba.
For many, attending Sunday school might have been more exciting than this
pretentious sleep-inducing pic.

It’s set in ancient Israel, some thousand years before Christ’s birth.
The Egyptian forces are handily defeated under the command of Israel’s
warrior-prince Adonijah (George Sanders) and his contemplative younger
brother, the poet Solomon (Yul Brynner). When learned their father, King
David (Finlay Currie), is on his deathbed, Adonijah assumes he will become
the next king and rides out on the field to capture a royal expedition
led by the beautiful and willful Queen Sheba, while Soloman rushes to his
dad’s side. When Adonijah returns to Jerusalem, he learns that dad picked
Solomon to be the next king. The embittered older brother hides his disappointment
and grudgingly accepts the appointment by Solomon to command the nation’s
armies. The opening years of the poet king’s reign are prosperous and it
signals the construction of the Great Temple. Sheba plots to seduce the
tolerant Solomon and help the Egyptians reduce the power of the mighty
king and topple his people. 

The Great Temple is destroyed by lightning, as Sheba’s seduction
works and in Solomon’s weakest moments the heavy Adonijah seizes power.
The Israelites think the temple’s destruction is a sign of God that Solomon
is no longer his favored son and they turn against the righteous king.
Meanwhile the manipulative Sheba has a change of heart and falls in love
with Solomon, and converts to Judaism and renounces her pagan gods. 

The epic battle between the Israelites and the Egyptians is shot
with a cast of thousands, making it loud and spectacular. For those who
love such lavish vulgar productions, lap up the orgy scene with campy glee,
can handle only small doses of political intrigue and love gawking at a
hot looking Gina, should find enough here to help keep them awake for this
overlong and ponderous flick. Others should mind that it strays far from
the facts, that the conflict between brothers is never developed and that
the love story is inert. 

Though critically assailed, the epic did well at the box office.

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