AmateurMovieReviews.com

Some movies are considered “chick flicks” while others are more guy dramas. This movie definitely falls into the latter category. As a “chick” however, I must say that I liked it, which is more than I can say about many movies. But this is a very somber and violent movie, and if a gal is queasy-like me-there will be scenes that are quite difficult to watch. But what do you expect when a movie concerns criminal activities, revenge, and family honor?

This film was filmed is some of the depressing-looking places in London in 2007. From dreary, graffiti lined streets, to the constant rain, to scary and abandoned public areas, it’s not a world in which most people would voluntarily enter. The lives of the main characters aren’t much better.

The head of a Russian organized crime family, Semyon (Academy Award nominee Armin Mueller-Stahl) is having problems with his son Kirill (Vincent Cassel). It seems that Kirill isn’t satisfied with getting drunk daily and being disgustingly obnoxious; he’s now ordered hit men on former friends without consulting dad. Russian-born Nikolai Luzhin (Viggo Mortensen) is hired to be the son’s driver, but ends up doing a lot of dirty work for Kirill-like chopping fingers off dead bodies and dropping them into the river.

Meanwhile, Anna Khitrova (Academy Award nominee Naomi Watts), is a midwife who witnesses a young teenager dying while giving birth and leaving an orphaned daughter. Anna finds a Russian diary on the girl, and gives it to her uncle for translation. It turns out that the girl was impregnated from a rape involving Semyon while his son entrapped her/ the two then kept her hostage for months. However, as fate would have it (of course, if it weren’t for this there’d be no movie plot) Anna had already given a copy of the diary to Semyon, since he was mentioned by name, unknowing his profession. Once Semyon discovers there is proof of his fathering a child through statutory rape, followed by holding her against her will, he moves to eradicate the diary and Anna's uncle. Meanwhile,Kirill kidnaps the baby to kill her so there can be no proof of his father’s crime.

If, like most movie goers, you have the irrepressible faith that all ends well, in this case you are right again. It turns out that Luzhin isn’t just your average chauffeur/mobster-he is an undercover agent with plans on infiltrating the family to extinguish them. To do so, he must prove his loyalty, whatever that entails. Yet, he has a heart underneath the amazing tough exterior. Instead of killing Anna’s uncle, he sends him into hiding. Instead of retaining information about the dead girl’s family, he gives it to Anna. And, instead of allowing Kirill to drown the baby, he stops him with the news that Kirill can be in charge, if Dad goes to prison. (Kirill, it’s safe to say, does not have a warm relationship with his father.) In the end, father and son both get sent away, and Luzhin finds himself exactly where he planned to be. The future of the mob is left up in the air, although the baby’s future is much happier. She has been adopted by Anna.

This is one more of those situations where people, through no fault of their own, find themselves trapped by bizarre circumstances. The teenager’s path crossing that of mob members, Anna finding the diary, the son’s controlling father, the uncle’s innocent attempt to discover answers-it all ends up causing danger, pain and loss. If this movie says anything, it’s along the line about the tangled web others weave-even if they’re the only ones doing the deceiving.

That said, even with some subtitles, this movie’s complications are fairly easy to follow. However, the sex scenes, gruesome murders, and fight in which naked Luzhin gets repeatedly stabbed, are not for everyone, especially children. It could be coincidental, but from the start of the movie, every scene is dark and gloomy, even though it’s the height of the Christmas season. Yet, by the end, when the uncle has returned and the baby is safe, it’s a lovely summer day. What else can better reflect good conquering evil?

This movie is worth watching if you believe in such an unshakable power.

One day, my daughter decided that she wanted to see “Bridge to Terabithia” although, in her mind, it was for “little kids.” So we settled down to what I expected would be another predictable Disney fantasy. It turned out to be not so predictable.

First, I must confess that I had read nothing at all about this movie, and, as a rule, am not that excited by Disney productions overall. I will admit that I do believe they are usually wholesome, safe and mildly amusing, but with limited viewing time, I’m apt to choose something a bit meatier. The Bridge to Terabithia fit that description. It completely held my attention for the entire time, which the majority of movies and most television shows cannot claim. (Actually, if a show holds my interest until it’s over, even if I’ve been working out the entire time, I consider it a better than average production.)

I’m not saying that this movie totally wowed me, but it definitely moved me. From what I hear, it moved many people. Perhaps the main reason (and stop reading here if you have not seen it but are planning to do so) is that the main character dies with 45 minutes left to go. How Disney handled the death and the resulting situations was done very well, but that’s not saying tears did not follow. It’s impossible to not be saddened at the loss of life of a cute young girl whose innate intelligence and eccentricities separated her from all other kids except for her young male co-star-who, until that point, was also friendless. We can all relate to such feelings, but most of us did not have to deal our best friend’s death in fifth grade.

After viewing this movie, I read about an audience viewer who became highly upset that the movie disturbed her grandchildren. First, it’s rated PG and not G, so that should have told them something. Second, if I was going to take a 5 year old, I’d have checked it out first. This is a story about fantasy, and sense of magic, but both originate from the main characters’ imaginations. What gives this movie an edge is that the surviving one matures enough to realize that he can use the gift of imagination to bring joy to someone else. It is very heartwarming and poignant and thus very Disney.

Yet, the usual Disney stereotypes are present: the mean kids, the bully who finds a heart, the lovely teacher, ridiculing siblings…everything we’ve come to expect to clearly show children the distinct difference between black and white and good and bad. However, those predictable characters aren’t so superficial because the principle actors are mesmerizing and the supporting cast is larger than life. The main female character has a wardrobe that’s quite different from the norm, but it suits her spunk. The boy’s little sister tugs at every heartstring. You have to say this for Disney-they do recognize talented children actors when they find them. The setting is also exceptional, not quite your average woods but not totally photo-shopped, either. It’s what you would expect of an average forest that’s been enhanced by an older child’s imagination.

Bridge to Terabithia was filmed in 2006 in Auckland, New Zealand over a 10 week period, and included the rural forest areas of Riverhead and Puhoi. It was directed by Gábor Csupó, based on Katherine Paterson’s novel, and was number two at the box office in the U.S. and Canada on its opening weekend. The author’s son, David L. Paterson, was also one of the movie’s producers and screenwriters. (He’s noted on the dedication page, for his real life friend who was struck by lightning and killed when they were aged eight.) The film was a recipient of the F.I.L.M. award (Finding Inspiration in Literature and Movies) and Cinematographer Michael Chapman's final film before his retirement.

I was surprised to discover that I’m glad to have seen it. I may even watch it again. If you want to take a walk into a world that you may not frequent, give Bridge to Terabithia a chance. But be warned: it’s a tear-jerker for both happy and sad reasons.

Last night, I had the pleasure of seeing “Amadeus”, and once again, thoroughly loved it. Now granted, the roles of Wolfgang Amadeus Mozart and Antonio Salieri are probably two the meatiest parts available to male actors, but it takes sheer genius to be able to carry them off. When it succeeds, it’s magical. About 20 years ago, this movie won 40 awards, including 8 Academy Awards and the coveted “Best Picture” award, which generated a public intrigue that had formerly bordered on disinterest. I’m not surprised, because it seems that our society isn’t that concerned about the history of musical composers. But this story is fascinating; do you know it?

Signor Salieri always wished to compose music; as a young teen, be begged God to give him the opportunity to do so, and as a payment, he would lead a life of virtue. Within 15 years, Salieri was Court Composer in Vienna, and heard about the child prodigy, Wolfgang Amadeus Mozart, but disregarded him. Within a few years, however, he heard a serenade of Mozart’s and was convinced of his genius-and to a greater degree than anyone else. As Mozart’s music began to be performed publicly, Salieri feared competition, and attempted to sabotage his professional standing among royalty. There came a point where Salieri realized that he was doing so not because of mere jealousy, but because of an intense despair that God had failed to give him more than mediocre talent, yet gave musical brilliance in abundance to a sniggering, immature, bawdy, lascivious young man Salieri referred to as “the creature”. To make matters worse, Salieri knew the added torture of being probably the one and only person able to recognize Mozart’s compositions for the angelic perfection which they were.

Salieri denounced his agreement with God and vowed that not only would his virtuous existence end, he would also ruin Mozart. In this, he accomplished his goals. Without work or students, Mozart became destitute. His wife and children left him, and the royal musical circle refused to acknowledge or help him. Other musical venues cheated him and attempts were made to plagiarize his work. Salieri, now viewed by Mozart as his only friend-regretted his decisions and decided to confess his traitorous deeds. He’d hoped to receive Mozart’s forgiveness, but by this time Mozart’s mind was muddled by alcohol and syphilis, and he thought Salieri mad. After Mozart died in his late 30’s, Salieri finally achieved the fame he always wished, but he knew that his talent was far less than that of the man he had a hand in destroying. The remainder of Salieri’s life was agonizing, and even a suicide attempt failed.

This movie is chock-full of the most beautiful settings, costumes and music imaginable, and Mozart’s raucous behavior is fun enough to keep even younger folks entertained. His innate abilities have the power to mesmerize anyone, even those who would never classify themselves as music aficionados. What this movie does surprisingly well through the exquisite direction, casting and acting is to elicit sympathy from the audience for both Mozart and Salieri-quite an astonishing feat in an industry that likes to paint bad guys versus good guys. We can’t help but feel Salieri’s jealousy and frustration that his young student is outshining him, and we can relate to Mozart’s naïve confusion and anguish that when his life takes a downhill turn. We can even relate to his wife’s initial attraction to such a famous and talented rogue, along with her exasperation when there is no longer money to run the household or support their offspring.

It is also remarkable that few of the main characters managed to remain in the public eye during the last two decades; except for F. Murray Abraham, the Best Actor Oscar Winner in 1984 for his performance in this production, most were relatively unknown to the world, then as well as now. (Within a month of the Academy Awards, I had the pleasure of seeing Mr. Abraham in a live off-Broadway performance, and he astounded me in that as well.)

Yes, this story can hit home to a lot of people, filled as it is with envy, pride and regret, and it is worth seeing if you get a chance. No one can watch it without doing some serious thinking about how they live their life. We need reminders about that from time to time.