CriticSociety- film reviews

Review

Matchstick Men

Director

Ridley Scott

Year

2003

Rating

Reviewed by

José Ruiloba a.k.a. Morris

Review date

Monday, September 29, 2003

To be honest with you I never thought much of this movie. I first heard when they were shooting it and was unimpressed. I then saw the trailers and they did nothing for me. Then the movie opened and it got great reviews. Wait! Could this be good? Suddenly I started to think differently and couldn’t wait to see it! Talk about consistency. But hey, I’m glad I changed my mind, cause this movie rocks.

Roy Waller (Nicolas Cage) and his partner Frank (Sam Rockwell) are con artists on the verge of pulling off the biggest scam of their lives. But suddenly Roy’s estranged daughter Angela (Alison Lohman) appears and turns things upside down. It’s just that, well, she wants to follow on daddy’s footsteps…

It’s hard to tell what makes this movie so great. It isn’t showy, it isn’t big, it isn’t a classic, it just works. But damn does it work. It’s so weird to realize it is director Ridley Scott who is behind the cameras. The movie doesn’t feel like anything he’s done in the past. Here Scott is understated; he’s going for subtlety but not in a cheap way. He’s going for a classy tone, an elegant movie, an easygoing one.

The movie is part comedy part drama part film noir. There is a wit to the dialogue that I just loved. Any exchange between Roy and Frank is full of humor and a tone that’s perfect. There’s also a bit of suspense regarding the main characters’ professions. Yet it never gets to the point when it overshadows the characters and their relationships. It’s all perfectly constructed.

Perhaps the best thing about the movie is the relationship between Frank and Angela. Their scenes are pure magic. The way they grow on each other, the way they don’t understand each other at first yet they feel so attached, the way they become allies, it’s like the characters are real. At least they feel real. And it’s also heartbreaking to see what Angela does to Frank. He’s a guy who has nothing to lose in the world. He’s lonely and has made a life for himself. But when Angela enters the picture his perception totally changes. Suddenly life has a meaning, and suddenly he has something to lose.

If anything, this movie has perfect performances. Nicolas Cage is amazing in yet another role full of tics and antics. Roy is an obsessive-compulsive, or something like that, and Cage never goes over-the-top with his performance. He’s also great in the quieter scenes. Sam Rockwell, on the other hand, oozes coolness. His easy-going way is infectious.

And Alison Lohman, I mean, she deserves a paragraph of her own. Go see this movie and realize she’s actually 24 years old. You won’t believe what she did with her performance. Not only does her presence light up every scene she’s in, but she also captures Angela’s spirit so vividly that it’s scary. What an actress.

If I have one complaint regarding the movie is its ending. There’s a plot twist, you see, which I didn’t expect. I’m a sucker for plot twists, but somehow I didn’t really love the one here. I felt like it betrayed any kind of character development we’d witnessed for the past two hours, and it was kind of heartbreaking. But then I was willing to forget that… until the very last few minutes. There’s an epilogue at the end that is totally and absolutely unnecessary. I have no idea what Scott was thinking when he included it in the movie, but it’s so bad I can’t begin to tell you.

But never mind. There’s a full movie here worth recommending. It’s well shot, has a great Hans Zimmer score, a brilliant selection of songs and a lot more to enjoy. Don’t miss it.

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Review

Nick of Time

Director

John Badham

Year

1995

Rating

Reviewed by

José Ruiloba a.k.a. Morris

Review date

Thursday, September 25, 2003

When Nick of Time was released in 1995 there weren’t as many reality shows as we have nowadays. Movies shot in real time were scarce and the whole concept of reality was not as in vogue as it is today. So a movie that used this concept one way or another was held as innovative and exciting. At least that’s how I felt when I went to see it, and I must say that time has not diminished the impact. An effective thriller is an effective thriller no matter what.

Gene Watson (Johnny Depp), a common guy, just returned home from his ex wife’s funeral when his daughter (Courtney Chase) is kidnapped. Enter Mr. Smith (Christopher Walken) who appears only to give him a gun, six bullets, a picture and a name-tag so that he can kill Gov. Grant (Marsha Mason) in an hour and fifteen minutes or his daughter will die. A race against the clock ensues.

Nick of Time was not shot in real time, but it does move as if it had. With this I mean that there are cuts in the movie, but the clock is ticking no matter what character we’re seeing or what scene we’re at. When Gene is told he has 75 minutes to kill the Governor it means we’re also going to experience those 75 minutes, no more no less. This makes for a truly exciting motion picture that keeps us in the verge of our seats, for there are far more secrets that haven’t been revealed.

The movie also poises an interesting question as to what we would do if faced in such a situation. Would we save our loved one? Would we try to save the Governor? Would we be brave enough to try and fool the enemy in spite of the situation? After all, it’s your child’s life that’s at stake. I guess I would just chicken out! No, I’m just kidding, but the guys in this movie certainly aren’t, and that makes it all the more fun!

Johnny Depp, versatile as ever, tries hard to play a normal person and succeeds admirably. We believe in him and understand what he’s feeling. He goes through a lot and we go with him along the way. Meanwhile, Christopher Walken, another actor who likes to play weird, delivers a good performance as one of the movie’s villains.

I must say I had a great time with this movie. It’s a nerve-wracking experience.

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Review

Beverly Hills Cop

Director

Martin Brest

Year

1984

Rating

Reviewed by

Gon Curiel a.k.a. Groucho

Review date

Wednesday, September 24, 2003

Undisciplined but efficient Detroit cop Axel Foley (Eddie Murphy) is forced to take a break from duty after a close friend of his is brutally killed. Unwilling to let the case rest, he goes to Beverly Hills, California, in a search of answers. He does find the people who killed his friend, and gives them a hard time—while he turns the Beverly Hills Police Department upside down.

Effective in every way, this action / comedy yarn is the very best vehicle Murphy has ever had. The sharp screenplay refuses to take the story lightly, and so does director Brest, giving enough weight to the serious plot to create a perfect balance with the comedy and action. As it is, it could hardly be more entertaining.

Originally intended as a vehicle for Sylvester Stallone, it features a remarkable cast, including Judge Reinhold and John Ashton as an odd couple of Detectives, Lisa Eilbacher as Foley’s lifelong friend who helps him out, and especially scene-stealer Bronson Pinchot as a gay art gallery clerk. But of course, this is Murphy’s show. His role of a smart and snappy cop is outstanding. And trust me, he shines.

Kudos goes to Harold Faltermeyer for his immortal theme, which is surrounded by a very dynamic song score.

Exciting, to say the least!

“I ain’t never been in no cell that had a phone in it. Can I stay for a while? I ordered some pizza.”

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Review

Desperado

Director

Robert Rodriguez

Year

1995

Rating

Reviewed by

José Ruiloba a.k.a. Morris

Review date

Tuesday, September 23, 2003

Now that Once Upon a Time in Mexico (2003) is enjoying so much success at the box office I just realized that I hadn’t written about Desperado, the movie that preceded it and that made stars out of Antonio Banderas and my beloved Salma Hayek. That movie wasn’t that successful the first time around, but it has become a cult movie as years have gone by. That’s no fluke, since it really is quite something.

El Mariachi (Antonio Banderas) gets embroiled in a series of misunderstandings as he is mistaken for a hit man when he returns to avenge the death of his lover. In the way, he meets beautiful Carolina (Salma Hayek), who helps him and thus gets involved in the conspiracy.

Robert Rodriguez took the world by storm when his El Mariachi made a splash at the Sundance Film Festival. Everyone immediately knew he was a natural, which he then continued to prove with Desperado. His hyper kinetic, ultra-violent style certainly impressed more than one. For Desperado is all about action. There’s a lot of blood and a lot of explosions, everything shot as if it was a super cool comic book with a larger-than-life hero.

Rodriguez is also responsible for first putting Salma and Antonio together on-screen. They have since made a lot of movies together and their fiery chemistry is unquestionable. Together they go through countless wild set pieces and provide a lot of passionate moments. It’s all part of the fun, and that’s precisely what the movie is about!

Antonio is note-perfect as El Mariachi, who has been hurt and seeks revenge. Salma, on the other hand, is sexy as hell and a perfect female match for our hero. Supporting players include Steve Buscemi, Cheech Marin, Danny Trejo, Quentin Tarantino, Joaquim de Almeida and many more.

Sexy, funny, entertaining non-stop action!

“It’s strange how pulling a trigger is easier than playing the guitar. Easier to destroy than to create.”

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Review

48 Hrs.

Director

Walter Hill

Year

1982

Rating

Reviewed by

Gon Curiel a.k.a. Groucho

Review date

Monday, September 22, 2003

Detective Jack Cates (Nick Nolte) realizes he’s got little chance of stopping Ganz (James Remar), a manic killer who recently escaped from a road gang and killed two of Cates’ partners, but is so determined to do it, that he’s willing to take Ganz’ ex-partner out of jail for a while to help him. So he’s granted 48 hours with the guy in question, Reggie Hammond (Eddie Murphy).

Reggie is not willing to cooperate, and Cates is no pumpkin, so they start off the wrong way, to say the least. But the thing is, both want Ganz, and they can’t get him if they don’t help each other. So they must struggle to find a way to get along. Don’t ask me how!

Wonderful action/comedy/thriller, featuring Murphy, perfect in his screen debut, teamed-up with Nolte in great shape as an alcoholic, tough cop.

Walter Hill crafted an intelligent movie with enough action and comedy to please everyone’s tastes. The scene where Murphy pretends to be a cop and terrorizes a whole redneck bar is the undisputable standout, but there are enough thrills throughout, including the ending, with Nolte larger-than-life… and badder than bad!

A must.

“And I want the rest of you cowboys to know something, there’s a new sheriff in town.”

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Review

Crossroads

Director

Tamra Davis

Year

2002

Rating

Reviewed by

José Ruiloba a.k.a. Morris

Review date

Thursday, September 18, 2003

For a long while, I thought there was no point in reviewing Crossroads. I usually review movies that I like or that I plain hate... but mediocre stuff like this? I’m lazy. But then again, why not talk a little bit about Britney.

Lucy (Britney Spears), Kit (Zoe Zaldana) and Mimi (Taryn Manning) were best friends until puberty and life itself separated them. One day they decide to take a road trip together for different interests and their friendship is reborn. Of course, there’s also the guy (Anson Mount) who’s giving them a ride, and soon love gets in the way…

Crossroads has a lot of problems. First of all, it has an artificial leading lady, I mean, character. The movie strives for honesty and harsh reality while at the same time showing us this woman who looks like a Barbie doll and behaves like one, whatever that means. She’s all cute and nice and innocent. Even the way she talks. And it isn’t all Britney’s fault. The character is constructed that way and it would be impossible for her to try to achieve more with it. That said, she isn’t a really good actress either.

The movie’s plot is horrible as well. It wants to showcase Britney’s singing yet every time she opens her mouth to carry a tune it’s embarrassing. Like the karaoke scene, for instance. And then it also strives to be an insightful road trip with a message. Forget about it. This movie is boring and the dialogue is ludicrous. I didn’t believe these girls for a minute. Except, perhaps, Taryn’s character, which seems to be the most human of the bunch.

Oh, and let’s not forget the cheesy subplot involving Britney’s mom. She’s too sad because she left her when she was young. Now she’s made up her mind to find her and when she does we’re all expecting a big confrontation scene. Well, there isn’t one. Kim Cattrall appears briefly but just to say hello and stand there.

Now, about Britney, she ain’t much of an actress. As I said earlier, she’s ridiculously cute and just not real enough for anyone to care. This is her show and there’s no doubt about it. Too bad I couldn’t care less. And I do hope she does something better in the future, because I don’t hate her, it’s the movie that bothers me.

“All we have is now, and right now we have each other.”

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Review

Down With Love

Director

Peyton Reed

Year

2003

Rating

Reviewed by

José Ruiloba a.k.a. Morris

Review date

Tuesday, September 16, 2003

I’m a huge fan of both Renée Zellweger and Ewan McGregor, so when I heard they were going to do a movie together I got really excited. The result is Down With Love, a risky project with much to offer.

Barbara Novak (Zellweger) just wrote a book in which she urges women to stand up to their men and become more independent. The book is a sensation and soon she becomes a celebrity. Meanwhile, Catcher Block (McGregor), the womanizer editor of a men’s magazine, sets his sight on Barbara in order to make her fall in love with him and be able to write a piece about it, so she will go down. Hilarity ensues.

Down With Love is a clear homage to those old Doris Day-Rock Hudson sex comedies which were full of innuendo and ingenuity. Director Peyton Reed and his collaborators do a fantastic job in recreating the era down to the last inch. The costumes and the production design are eye-openers, and so are the music and some specific sequences.

This is a movie made with the single purpose of reviving an era and make people laugh in the way. And it works. There are times when the movie drags a bit, and there are times when it feels overlong, but those are just minor flaws amidst a romantic comedy that is both romantic and funny.

It is also well written, with some very funny dialogues inserted specially in any scene that has Barbara and Catcher speaking on the phone. One of these involves more than words actually, and it is hilarious. Oh, and beware, there is plot twists galore. Just as in the old times.

The fact that this movie works has to do with how wonderful and charismatic its two leads are. Ewan McGregor is simply fantastic, but it is Renée who steals the movie with her beauty, pose and comic timing. She’s absolutely radiant.

An enjoyable trip to the past.

“We’re just acting like two people... in love!”

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Review

Some Like It Hot

Director

Billy Wilder

Year

1959

Rating

Reviewed by

Gon Curiel a.k.a. Groucho

Review date

Monday, September 15, 2003

During prohibition era (1920s), nowhere else than Chicago, two band players, Joe the saxophonist (Tony Curtis) and Jerry the cellist (Jack Lemmon), lose their jobs as the police shut down the clandestine bar where they played. To make things worse, their next job ends up before it begins, with their unfortunate witnessing of the Saint Valentine’s Day Massacre.

Pursued by gangsters, they find no other choice than disguise themselves as women and join a girl band on its way to Miami. Luck finally seems to be on their side, but even without gangsters around, they get into trouble as both fall for the band’s vocalist and ukulele player, Suger Kane (Marilyn Monroe).

Riotous comedy, usually regarded as the best ever made, is indeed perfectly hilarious, and poignant and suspenseful, assembling jokes and bullets and romance seamlessly in the very entertaining plot.

Monroe is perfection as the girl with a heart that tends to be broken, Lemmon unforgettable as the guy who always gets the worst of everything.

Wilder (and co-writer I.A.L. Diamond) crafted a masterpiece that simply doesn’t age. The dating night is a screwball bliss, but every moment, and every line, is as good as it gets.

“Nobody’s perfect.”

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Review

Arthur

Director

Steve Gordon

Year

1981

Rating

Reviewed by

Gon Curiel a.k.a. Groucho

Review date

Wednesday, September 10, 2003

A spoiled multimillionaire (Dudley Moore) is threatened with disinheritance if he does not marry the snob daughter of another multimillionaire. He does not like the woman and evades everything by continuously getting drunk, something he really seems to enjoy. But then, he meets working-class waitress Linda (Liza Minnelli) and hopelessly falls in love, thus starts to wonder if it’s really worth not being rich if true love is the other choice.

Wonderful old-fashioned comedy starring Moore at his best, and filled with classy humor at every turn (written by first-time director Gordon, who died the following year). Everything works just fine.

Minnelli is good as the love interest, Geraldine Fitzgerald amusing as the rich aunt, Barney Martin hilarious as Linda’s father, but it is John Gielgud, as a valet who doesn’t hesitate to speak his mind—and loves Arthur with all his might—who really steals the show.

Great original song, “Arthur’s Theme (Best That You Can Do)” by Christopher Cross, became a classic by itself.

“Isn't this fun? Don't you wish you were me? I know I do!”

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Review

Nothing But Trouble

Director

Dan Aykroyd

Year

1991

Rating

Reviewed by

José Ruiloba a.k.a. Morris

Review date

Tuesday, September 09, 2003

I think this is the first time, or one of the first times, that I’ve ever written a movie review with a one-star rating. But what better way to do it than criticizing a movie I happen to like? Well, let me explain: When I was a child I used to see this movie and even though it’s so brutal I actually liked it. Puberty, I guess. But then, I recently gave it a look after many years in oblivion and I knew from frame one that I was going to suffer. Oh God, is this movie bad!

Chris Thorne (Chevy Chase), a womanizer millionaire, offers Diane (Demi Moore) a ride to help her get out of some trouble she’s stuck in. When they leave, a Brazilian couple (Taylor Negron and Bertila Damas) joins them and together they hit the road. Soon, a cop (John Candy) tries to stop them for speeding, but Chris decides to challenge him and escape. Wrong move, pal! When they’re caught, they’re taken to Valkenvania’s judge (Dan Aykroyd), who sentences them and keeps them imprisoned in his bizarre mansion. Their lives are now at stake!

So why is the movie so bad? To start off, Aykroyd (who wrote and directed it) was actually trying to do something original, and original it is, but he made a lot of wrong moves. How can you identify to or like a movie that takes place in such an ugly, uncomfortable, weird and gross world? And it’s not necessarily those adjectives that make this movie such an unwatchable experience, but the fact that Aykroyd takes the worst out of each of them.

I must say that at first the mansion and all its goodies are actually amusing, but after a while they become dumb and boring. The second half of the movie is so awful it’s unbelievable. We don’t care about the characters, so we don’t give a damn whether they get out of there or not. Besides, Aykroyd’s judge is not funny. Not! And he has a nose that resembles a penis, so you get the idea of what kind of “comedy” this is. Add a pair of monster twins and a lot of wacky plot twists and you’ve got a disaster. Yes, sir!

As performances go, there’s nothing that really stands out, but I’m willing to say it’s more because of the material than the actors. The only bit of rationality in the movie is provided by John Candy, and thus he is, for me, the one that leaves the best impression.

Avoid it like the plague!

“And for being a banker. That’s the double death.”

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Review

Anastasia

Director

Anatole Litvak

Year

1956

Rating

Reviewed by

Gon Curiel a.k.a. Groucho

Review date

Monday, September 08, 2003

In early 20th century, Russian exiles in Paris plot to collect the inheritance of estranged Princess Anastasia, the alleged lone survivor of the family of Czar Nicholas II. Bounine (Yul Brynner) passionately looks for someone who truly resembles the heiress to the throne, and finds a perfect match in a troubled woman by the name of Anna Anderson (Ingrid Bergman). She is amnesiac and suicidal, and a mess, but somehow seems to have the manners of a Princess. Against her will at first, she agrees to play the part, which later suits her so well that everyone, including Bounine, wonders if she is really Anastasia. But it is the Dowager Empress (Helen Hayes) who must really determine if she has found her genuine granddaughter.

Wonderful movie, based on the play by Guy Bolton, based in turn on the true story of the enigmatic Anna Anderson. Not nearly faithful to the real events, but it does create an atmosphere of awe, and has all of us wondering who this woman is, and if she indeed is the real thing.

Ingrid Bergman, in her Hollywood comeback role, is beyond words as Anna Anderson/Anastasia. At first she’s dark and unrecognizable, later she’s luminous and gorgeous, but at all times she’s fragile yet strong. Hayes is great too as the Dowager Empress, especially in classic confrontation scene.

The score by Alfred Newman suits the mood perfectly. Everything here is quite haunting.

“But oh please, if it should not be you, don't ever tell me.”

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Review

Bowling for Columbine

Director

Michael Moore

Year

2002

Rating

Reviewed by

Gon Curiel a.k.a. Groucho

Review date

Thursday, September 04, 2003

One of the many questions filmmaker Michael Moore hasn’t found an answer to is “what makes Americans so trigger-happy?”. Historical violence could be the answer, but don’t many other countries have worse background? Maybe pop culture… but aren’t there worse pop influences in many places around the world? Racial diversity must be it then. What? Haven’t you heard of Canada? Yet the death rate by gun between civilians is much smaller everywhere else (at least in the first world) than in the United States. So… what is it? Moore is willing to find out.

So he goes from place to place, interviewing people and proving points, or trying to. Sometimes he does find dead-ends, mostly he doesn’t provide answers, but in the end he manages to paint a pretty good picture of what he thinks and why he thinks so.

The result is a SMASHING documentary that came in the right moment to try and open some people’s eyes. Focusing on the massacre at Columbine High School (where two kids killed many others with guns and then killed themselves) and analyzing similar events, the movie takes us back and forth in time to realize what’s really wrong in America. If it’s not the historical violence, or the pop culture, or the racial diversity, then what is it? The politicians? The paranoia? The media? Or all together?

Wonderfully edited, featuring all kinds of interviews with all kinds of people (from a clerk in a bank where a free rifle is given as a gift to anyone who opens a certain account, to the President of the National Rifle Association—NRA: Charlton Heston), Bowling for Columbine makes up for a roller-coaster ride: fun, scary, and very exciting. Overall, it is hilarious, but Moore also makes us cry and open our eyes like few filmmakers dare to even try. Of course, some people are mad at him. But some love him instead. However, I don’t think anyone really sits through this movie and walks out of the theater without some reflection about the situation analyzed here. If this documentary is anything, it’s thought-provoking, and it deals mostly with facts. That’s what makes it so effective.

The documentary features many known faces, in footage or actual interviews. Many highlights include footage from the killings, a sequence of America’s foreign affairs throughout the years, an animated “Brief History of the United States of America”, a spoof of the show “Cops”, and an interview with brilliant rock-star Marilyn Manson.

A brave movie for brave people who are willing to face the facts.

“Thank you for not shooting me.”

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Review

Gone With the Wind

Director

Victor Fleming

Year

1939

Rating

Reviewed by

José Ruiloba a.k.a. Morris

Review date

Wednesday, September 03, 2003

It had been a while since I last saw Gone With The Wind, my mother’s favorite movie and I guess a lot of mothers’ favorite movie. I just can’t blame them. This movie is so good it hurts. It lasts four hours but I wanted it to last six. It’s just one of the more remarkable achievements cinema has known in all its history.

Beautiful yet spoiled Scarlett O’Hara (Vivien Leigh) is forced to stand up to the situation when war hits the South. She has always been in love with Ashley Wilkes (Leslie Howard) who is set to marry his cousin Melly (Olivia de Havilland). When Ashley is sent to war Scarlett continuously tries to be wherever his presence might be felt. That doesn’t suit well for wealthy Charleston visitor Rhett Butler (Clark Gable) who loves her more than anything else in the world.

Epic movie based on Margaret Mitchell’s novel came to life thanks to producer David O. Selznick, who set out to make the biggest movie Hollywood had ever seen, and achieved it. He, along with director Victor Fleming and several other uncredited ones, created a masterful work of art. The most lavish and grand melodrama ever brought to the big screen. And more than 60 years later Gone With The Wind is still considered one of the best movies of all-time.

The story is fascinating. It tells the epic tale of a woman who had everything she could ask for except the man she loved. Then war struck and she struggled to survive. She was forced to grow and became a responsible and hard-working woman in order to keep her family, and her land, going. Scarlett never ceased to be as headstrong and obstinate as it was possible, barely caring for what other people suffered as long as she was all right. But she had a heart all right, and sometimes it showed. Still, she was never able to forget Ashley, not even with handsome Rhett Butler at her feet. Money was too important to her, and ultimately that’s what led her to ruin.

The movie boasts impressive color cinematography, a wonderful score by Max Steiner, impeccable production design and wondrous costumes. Every single detail is perfect, but nothing would’ve been as great if it wasn’t for the amazing story told throughout.

Producer Selznick searched three years for the perfect Scarlett and I don’t know what took him so long. Vivien Leigh is radiant, she’s perfect, she’s just a gift from God. Her performance is nothing short of breath-taking at every turn. I could marvel at her for hours and never get tired. She’s sublime. Meanwhile Clark Gable stands his own and delivers a fantastic performance along the lines of Hattie McDaniel, Thomas Mitchell and the wonderful Olivia de Havilland.

A masterpiece.

“As God is my witness, I’ll never be hungry again!”

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Review

Finding Nemo

Director

Andrew Stanton

Lee Unkrich

Year

2003

Rating

Reviewed by

José Ruiloba a.k.a. Morris

Review date

Monday, September 01, 2003

I cannot put into words how much I anticipated this movie. Pixar can do no wrong. It’s ridiculous.

When Marlin’s (voice of Albert Brooks) wife dies along the rest of his soon-to-be-born kids, he discovers that one egg did survive. Thus Nemo (voice of Alexander Gould) becomes his only reason to live. As a clownfish with one bad fin, Nemo finds it difficult to adjust to sea life, but his father’s overprotective ways are what finally drive him crazy. In a moment of rage, Nemo does the unthinkable and is caught by humans, so he ends up in a dentist’s fish tank. Marlin then sets to find his son with the help of Dory (voice of Ellen DeGeneres) while Nemo himself plans to escape with the help of his new friends.

You can right about put Finding Nemo along all the other Pixar classics right away! It simply is a wonderfully textured, visually impressive, funny and touching movie that never ceases to be a feast for the senses.

What makes Finding Nemo such a great movie is simple: it gets to our hearts. The father-son relationship between Marlin and Nemo is so honest and heart-breaking that it’s easy to identify with. It’s one of the best stories of the type to be brought to the big screen, period. The way Marlin has to learn to be different and let go of what he loves the most and the way Nemo comes to appreciate his family bonds as he matures and finds his own path unravel beautifully in front of our eyes without ever getting preachy or too obvious.

It also helps that there is a lot of comedy in the movie. It mostly comes from the character of Dory, who is someone special on her own. She suffers from short-term memory loss and it’s a burden she has to carry all the time. We laugh a lot along with her, but we also fall in love with her innocence and kindness. It’s such complete character… I love her!

Besides Dory there are a lot of people both Marlin and Nemo encounter in their way. Whether it’s hippie turtles, recovering sharks or a helpful pelican, they are all part of the colorful world in which the movie takes place.

Directors Andrew Stanton and Lee Unkrich do a great job in creating a world we know about but have never seen in such splendor. It’s unbelievably striking.

As voice performances go, you can’t get any better than Ellen and Albert. They’re not good, they’re excellent. They bring their characters to like with ease and it’s to their credit that the movie works so well. The supporting voice cast includes Geoffrey Rush, Brad Garrett, Eric Bana, Willem Dafoe, Allison Janney, Andrew Stanton and many more. They’re all excellent.

Joyful!

“You’ve got thrill issues, dude.”

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