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When the truth becomes a weapon, power comes at a stunning price. Gary Oldman, Joan Allen, Jeff Bridges and Christian Slater deliver electrifying performances in this controversial, suspenseful and critically-acclaimed thriller that Ebert & Roeper and the Movies call "exciting and unusually intelligent, two very enthusiastic thumbs up!" Sometimes you can assassinate a leader without firing a shot.Depending on your perspective,
The Contender can! be praised and damned for the same reasons. A political thriller with an insider's view, it's deadly earnest in its defense of truth, justice, and the American way, but writer-director (and former film critic) Rod Lurie resorts to the same manipulation that his film purports to condemn. But with political savvy, a timely idea (a female vice president), and a cast of first-rate actors, this high-office chess game is unabashedly entertaining. You can argue with Lurie's tactics, but you can't fault his patriotic passion.
In a role written especially for her, Joan Allen is outstanding (if a bit too saintly) as the Republican-turned-Democrat senator who is chosen by the president (Jeff Bridges) to fill a vice presidential vacancy. Bridges is a cagey chief executive, seemingly aloof as he gleefully challenges the White House's 24-hour kitchen staff but more than a match for the embittered and unscrupulous congressman (Gary Oldman) who plots to destroy Allen's character with se! emingly dark secrets from her past.
As a gender-switching r! esponse to the Lewinsky scandal, The Contender asks potent questions with its impassioned plea for integrity in public service. That makes this a film well worth defending, and the stellar cast (which includes Christian Slater and William Petersen) triumphs over most of the plot's hokey machinations. The ideas are more compelling than their execution, however, and although Lurie's climactic revelation is a vast improvement over the reckless cheat of his previous film Deterrence, it still threatens to tarnish the gloss of an otherwise fascinating film. --Jeff ShannonYES - DVD MovieIt's unsurprising that a movie written in rhyming verse would have stilted or self-conscious moments--but the sumptuous beauty, sinuous rhythms, and cinematic intricacies of Yes may astonish viewers who expect something stuffy or antiquarian. The plot is little more than an affair between an unnamed Irish-American biologist (Joan Allen, once the queen of repression in The Ice ! Storm, now becoming an art-house sexpot in this and Off the Map) and an unnamed Middle-Eastern chef (Simon Abkarian, Ararat), yet the movie explores just about everything: Marriage, religion, international politics, motherhood, and the nature of zero, while travelling from London to Belfast to Beirut to Havana. Writer/director Sally Potter (Orlando, The Tango Lesson) has enormous ambitions; Yes abounds with complex ideas and daring flourishes, both verbal and visual, juxtaposing the austere and the erotic, intellect and grief. If not everything succeeds, what doesn't is more than made up for by what does. Also featuring Sam Neill (The Piano, Jurassic Park) as Allen's aloof husband and Shirley Henderson (Topsy-Turvy) as a housecleaner with a philosophical perspective on dirt. --Bret FetzerOFF THE MAP - DVD MovieOff the Map avoids conventional drama (hardly any event leads to an outcome you could expect! ) but the lean, sharp dialogue and superb performances make th! is movie a rich, human comedy. A young girl named Bo, living in the New Mexico desert, rebels against her bohemian parents by reading Forbes magazine and applying for credit cards. Her father Charley (Sam Elliott, Tombstone) has sunk deep into a paralyzing depression; her resilient, industrious mother Arlene (Joan Allen, The Upside of Anger) alternates between gently supporting Charley and railing against his zombie-like state. Into this off-balance family comes a tax auditor (Jim True-Frost, Singles), who--after being stung by a bee and lapsing into a sudden fever--becomes an accidental catalyst for change. In her movie debut as Bo, Valentina de Angelis gives a wonderful performance, head and shoulders above most actors her age. Campbell Scott's direction, as with his first film Big Night, is warm but not sappy; he has a gift for letting a story wander without it ever getting lost. The New Mexico landscape glows in the sun and helps give Off the Ma! p a quiet but mysterious vision of life. --Bret FetzerIn 1795 Johann Wolfgang von Goethe produced his tale of tales-The fairytale of "The Green Snake and the Beautiful Lily," an extraordinary masterwork that is unique among Goethe's works. An initiatory fable of transformation, the tale arose out of the Rosicrucian, alchemical impulses that play an important role in Faust and Goethe's other writings. Among those influenced by it was Rudolf Steiner, whose mystery dramas employ similar themes. The authors begin by placing the fairytale against the background of Goethe's life and cultural setting. They then discuss its importance in the development of Steiner's spiritual science. Finally, they describe its visual language, profound mystical insights, and relevance for us today. The book includes Carlyle's classic translation of the tale and illustrations, plus Steiner's essay on its inner meaning. The authors offer a positive look at the possibilities of the! twenty-first century. They view Goethe's fairytale as fully r! elevant to our time, just as it was when Goethe first wrote it.Star-studded movie about the famous artist. Celebrated photographer and art impresario Alfred Steiglitz (Jeremy Irons) is shocked to learn that the extraordinary drawings he has recently discovered were rendered by a woman. Deciding to display the work of then-unknown artist Georgia O’Keeffe (Joan Allen) in his gallery without her knowledge, the fiercely private artist orders him to remove the collection. Once Alfred convinces her to allow him to become her benefactor and to champion her artistry, their relationship evolves as they fall deeply in love. Alfred leaves his wife for Georgia, but soon finds her rising star is poised to eclipse his light. As their relationship suffers, Alfred finds twisted ways to emotionally wound her, including taking a younger lover. Georgia’s search for solace moves her west, where she finds new inspiration for her paintings â€" and ultimately her own voice â€" in the New Mexico landsc! ape.While there are numerous documentaries about the iconoclastic modernist painter Georgia O'Keeffe, there has been a dearth of dramatized renditions of her life. Maybe the waiting has not been in vain, because we now have this lovely and respectable biopic courtesy of director Bob Balaban. Georgia O'Keeffe stars Joan Allen as Georgia, and Jeremy Irons as the astute yet eccentric gallerist and artist Alfred Steiglitz. Though the couple's artistic reign was extensive and highly influential, the crux of this film's narrative centers on Georgia and Alfred's tumultuous love affair. Beginning with a scene in which Steiglitz is already exhibiting O'Keeffe's work, they meet on conflicting terms that lead to her staying in New York as Steiglitz quickly falls in love with her enigmatic charm. From here, the viewer begins to understand how Steiglitz fortified O'Keeffe's career and reputation in the art world, while he was detrimental to her personal life. Though the film does! clearly sympathize with O'Keeffe's challenging relationship t! o Steigl itz, it also does a fair job of showing how important a character he was to the modern art movement. While Georgia O'Keeffe is a drama and not an art historical documentary, it does give one a solid sense of the period's intellectual climate. It focuses chronologically on the latter half of O'Keeffe's life, when she discovers solace and inspiration in Taos and Abiquiu, New Mexico. In the end, the film is also a tender portrait of a liberated woman who was a protofeminist and a fierce talent. --Trinie DaltonThe re-release of Jerry Aronson's biopic, The Life and Times of Allen Ginsberg, timed to celebrate the fiftieth anniversary of "Howl," suits this wonderful documentary and proves Ginsberg central to all radical artistic and political movements of the past 60 years. The feature-length film, segmented by decade, provides ample footage of Ginsberg's life; but extras added into this package, including footage of his memorial and 35 interviews with artists ! inspired by the visionary poet--from Beck to Lawrence Ferlinghetti--solidify Ginsberg as an American cultural icon. The film unravels Ginsberg's obsession for life and death around his mother's nervous breakdown and his father's affinity for poetry. Interviews with Ginsberg from each decade, both amongst his Beat friends like Burroughs and Huncke, and later with talk show hosts William Buckley and Dick Cavett, show the author's progression from sexual politics in the '40s and '50s to the "politics of ecstasy" in the '60s and '70s, when he founded the Flower Power movement with Tim Leary, and later, Naropa Institute. Ample footage of Ginsberg's stepmother provides a sensitive outsider's opinion on how he blossomed into one of the most spontaneous minds of the century. The film transcends simple Ginsberg descriptions by framing his life with historical happenings to contextualize the author's words and actions. The Life and Times of Allen Ginsberg reminds the viewer th! at there is no better example of an artist devoted to a life o! f letter s, activism, and idealism than the original beatnik. --Trinie DaltonThe Crucible Poster (11 x 17 Inches - 28cm x 44cm) (1996) Spanish Style B reproduction poster print
CAST: Daniel Day-Lewis, Winona Ryder, Paul Scofield, Joan Allen, Bruce Davison, Jeffrey Jones, Rob Campbell, Peter Vaughan, Karron Graves, Charlaine Woodard, Frances Conroy, Elizabeth Lawrence, George Gaynes; DIRECTED BY: Nicholas Hytner; WRITTEN BY: Arthur Miller; CINEMATOGRAPHY BY: Andrew Dunn; MUSIC BY: George Fenton. PRODUCER: David Picker, Robert A. Miller, 20th Century-Fox.
