This set-up works surprisingly well. The film is reminiscent of early Woody Allen with some of Kevin Smith's CLERKS tossed in (particularly a scene in which customers come in and ask for "organic free-trade coffee" - very funny!)
The performances are strong. Hank West is wonderful as the Woody Allen type. He has Allen's strong grasp on playing neurotic but is much more cuddly and boyish than Allen would dream of being. Erin Fanelly brings a gentle quality to Corrie, Darnell's wife, a role that could have easily been played (and less effectively) as a shrew. Most of the rest of the cast double up in multiple roles. Of particular note is Beth Porter as Darnell's mostly silent employee, Nellie. She gets more play out of an eye roll than a lot of actors do monologues. Dana Boggess is hilarious as Dr. Freebacker, one of Darnell's therapists. I just loved her lip twitch! Also of note was Douglas Welton's performance as another therapist. His genteel southern accented Dr. Smithbar is very funny. Finally, Mary Ann McCubbin's performances as Dr. Winkerbloom and Darnell's Grandmother are also laugh inducing.
Production-wise the film looks great and is very well lit. The sound is solid, particularly the sound effects (and smoke effects) of the bong smoking scene, a nice detail indeed. Speaking of sound, the soundtrack is mostly jazz pieces (another Woody Allen reference) by the Firecracker Jazz Band and is very effective.
The only two criticisms of the film are that there are not enough outside shots to establish a sense of where this is all taking place (possibly because of time and budget restraints) and the fact that Darnell wears the same outfit in every scene. Perhaps Post is making a statement about his character being stuck in a rut, but it becomes a little distracting.
COFFEE THERAPY is a very engaging comedy that takes a look at the sometimes ridiculous world of psychotherapy. It reminds us that in the end maybe we don't ever get the answers to all of our little neuroses, and maybe that is not such a bad thing. Review by Tom Ollis
AMAZING GRACEWhat is truly amazing, though, is that the director, Michael Apted, shows restraint and neither panders to, nor sensationalizes the subject of slavery. It would have been easy to incite emotions by showing ships filled with sick and dying slaves. (There is one short flashback with a rather abstract view of children working in sugar cane fields.) The strength of the directing, acting, and writing, however, make that unnecessary. Although the pace may seem slow at times, the screenplay provides a complicated subject matter with signposts. The director creates images that relate feelings without crowding out the words, which are important in this film. Relevant to today’s world is the extravagance and haughtiness of the upper class, as compared to the misery of the poor. Following the money allows people to act in their own self-interest over their conscience, politicians especially.
Welsh actor Ioan Gruffudd gives an intelligent, convincing, controlled portrait of a man of great faith who is also vulnerable and real. Some of the other outstanding performances are: Benedict Cumberpatch as his Prime Minister and good friend William Pitt; Romola Garai as his compassionate wife, Barbara; Jeremy Swift as Wilberforce’s butler and friend; Rufus Sewell as supporter Tom Clarkson; Michael Gambon as the sly Lord Fox; and Grammy winning Senegalese singer Youssou N’Dour as Olaudah Equiano, a former slave. Then there is Albert Finney. He is powerful as Wilberforce’s minister, John Newton, a reformed slave ship captain who wrote the hymn “Amazing Grace.” He obviously has a great impact on Wilberforce, and his repentance is clear, but more Finney (as Newton) would have added more of a connection to the song.
The set design, costumes, cinematography, score, all add to the believability factor. The makeup is especially good as the characters age over several decades. All the elements draw the viewer in and help create an inspiring film about a man whose impassioned but quiet voice changed a nation. Review by Ann Marie Oliva
The director, Joel Schumacher, has several storylines going as Walter imagines himself as “Fingerling” the detective and Agatha (what’s with the names?) as his girlfriend “Fabrizia” in the book’s chapters on noir comic books. Walter becomes convinced the book is about him. Jim Carrey must like these kind of mind-bending plots, but unfortunately, this screenplay is no “Eternal Sunshine of the Spotless Mind.”
Carrey’s acting carries the movie. Virginia Madsen is also persuasive as the attractive, steady wife, a part she seems to be playing of late, but at least she gets to vamp a little as Fabrizia, looking good as a dark-haired vamp in a black slip. Danny Huston as family friend Isaac French and Dr. Miles Phoenix provides good support, as does Logan Lerman as Walter and Agatha’s teenage son, Robin.
But there is a difference between an intricately plotted mystery, and too much coincidence and convenient facts revealed at opportune moments. Aspects of the film are interesting and well done, but ultimately, the plot is an overly-contrived disappointment; the answers are not really all that mysterious or gripping. Review by Ann Marie Oliva
BRIDGE TO TERABITHIAJesse (Josh Hutcherson) is a lonely 5th grader. The middle of five children, and the only boy, he’s dreamy and sensitive, secretly draws, and longs for his father’s attention. He’s also the object of some bullying at school. Leslie (AnnaSophia Robb) a free-spirited newcomer, and neighbor, herself an outcast, manages to break through his protective shell. The two form a bond and create a magical world only they can see in a wooded area near their homes. As artistic and imaginative as they both are, the woods are soon filled with fantastic creatures. The special effects here are quite good, but not overdone. Naturally, they are the heroes who must save “Terabithia” from these threats. What is satisfying about the film is the progression of Jesse and Leslie’s characters. They give each other friendship, confidence and a sense of belonging. As the more perceptive of the two, when Jesse is feeling down, Leslie is there to help him put things into perspective.
The casting is well done. Josh Hutcherson has a soulful look, and is quite believable as the introverted young artist. AnnaSophia Robb is a good match as the self-assured, but slightly off-centered Leslie. Zooey Deschanel as the music teacher, and object of Jesse’s admiration, Ms. Edmonds, strikes the right note of caring. Bailee Madison is engaging as Jesse’s little sister, May Bell. Robert Patrick gets to show some versatility as Jesse’s father. Seen through the eyes of an eleven year old, he seems angry and impatient all the time, but he comes through and is tender and thoughtful when Jesse needs him most.
This is not a movie for young children because of the turn it takes toward the end. It doesn’t try to give easy answers or explain the unexplainable. It allows the characters the room to mourn their losses, as children and adults would need to do in real life. And as in reality, healing takes place when one learns to build bridges from the past to the present and move on to brighter days. Review by Ann Marie Oliva
BREACH (PG-13 for violence, sexual content, and language, Drama/Thriller)
What O’Neill sees is: a devout Catholic who goes to Mass every day; a devoted family man with a loving wife and children and grandchildren; a smart, knowledgeable agent who knows all the ins and outs, and the politics of the FBI. The real tension begins when Burroughs tells O’Neill the real reason he has been assigned to the case. Yes, he is a sexual deviant, but that’s the least of it. The pace starts to pick up from this point as O’Neill must lie to almost everyone in his life, including his wife, Juliana (Carolina Dhavernas). He also has to start gathering more tangible information in order for the FBI to nab Hanssen who is set to retire in two months. Because Hanssen knows the workings of the FBI so well he has been very, very careful to “cover his tracks.” The tension in some of these later scenes is palpable even though we know how the story turns out.
The pace of the movie is a bit slow, but director Billy Ray does a good job recreating the buttoned-up atmosphere of the FBI, and getting good performances from his actors. They all do an excellent job. Ryan Phillippe is surprisingly affecting as the young innocent who begins to feel the heat of double-crossing his boss. Laura Linney is interesting as always, as the agent who sacrifices a personal life for something she believes to be more important. But it is Chris Cooper who is outstanding as the sociopathic Hanssen. It is through his streamlined characterization that the cracks in the façade of the overly-controlled Hanssen begin to show.
So why did he do it? There is a scene about halfway through the movie where Hanssen reveals to O’Neill that his father made sure he failed his driver’s test. The father thought this would “build character.” It appears instead that Hanssen covers up his feelings of inadequacy by developing a rigid, controlling, judgmental, arrogant, narcissistic personality, with a sense of entitlement and a great need, not only to be feel superior and be admired, but to have that superiority acknowledged as well. When the FBI fails on that count, Hanssen is furious and makes them pay.
Of course, only one man knows the exact reasons for sure, and he sits in a maximum security prison in solitary confinement 23 out of 24 hours a day, and he’s not talking. Review by Ann Marie Oliva 4 stars out of five