Two Words, One Answer.
Amanda Peet
 Identity $14.94 Here is a film--the term "movie" is not good enough for this product--"Identity," which will have 340 reviews after I hit the "Publish" button and I had not heard of it until I picked it up from the Sale bin at a local wholesale giant. This is film making at its best. Oh, 2003, the year the film came out--also, the year of my retirement, my divorce, new house, trip to Ireland, seminary--no wonder I am not familiar with this film. I was too busy with my own identity. "Identity" is such an apt title, too, for this film. Initially, I wondered what its meaning might be, but the story is so taut and full of action and never-let-go-roller-coaster-ride into the psyche that one forgets the title. Too much else to consider. First, the story opens somewhat in the middle with important information provided. The viewer may not have any idea what this information means until much later, when it's too late (not that the viewer can do anything to help). Director James Mangold proves his title along with great editors in organizing the various plot elements into a sophisticated, cubist fashion. What seems chop, chop is not at all, but becomes a careful rendering of truth and reality, fantasy and the unreal world of horror where the characters walk and breathe. Identity. What is it? Who has it? Mangold takes the viewer to a brink, but a brink to what? You cannot guess this one. Part of what makes the center hold is the casting. John Cusack creates one of his better roles and convinces us he is this character. Each character and the actor who plays him/her are well-drawn and made flesh by other talented actors-- Amanda Peet, Ray Liotta, Rebecca DeMornay, Alfred Molino. The setting is a motel. The time is night. All the circumstances are morbid and sinister. Who is this man who runs the motel? What's wrong with him? The movie star, tired and aging, continues her demands for more and better. Her chauffeur who is more than he seems has hit, I should say his vehicle hits the wife of a man changing his tire in a relentless storm that has encircled this group of disgruntled, sad people. After the grotesque murders begin, Peet's character likens their story to "And Then There Were None." I would suggest that these people have found themselves in a twisted Lovecraft horror tale. For twisted and horror describe the hidden part of the story. There, I've said enough. Identity. What is it? Who has it? When and why?  A Lot Like Love (Widescreen Edition) $14.99 These two characters never hook up until the end. It's a little depressing to see the depiction of two young people who can't maintain stable relationships. If it was love then they should have stayed on it from the beginning. But this movie is not a bit like love. The storyline is non-existant and they don't stay together till the very end. The movie starts being unpredictable but then is predictable in that the characters just don't stay together. Not much comedy and nearly no romance. Try something like The Proposal (Single Disc Widescreen) if you want to know what a romantic comedy can be.  The Whole Nine Yards $14.96 Amoral. Senseless. Some laughs. Two beautiful young woman who show great teeth in fairly numerous closeups. Two semi-nude shots of one of the women or her body stand in. A henpecked dentist to serve as the klutzy but basically heroic good guy. Assorted third bananas only one of whom makes sufficient screen impact to be noticed (Michael Clarke Duncan). Oh, yes, there is Bruce Willis, the only reason for the picture. He performs his patented cool tough guy character with nonchalance. Mix the ingredients without too much directorial skill and you have a movie which entertained many. Frankly, I liked looking at the girls. |
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