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FOR YOUR CONSIDERATION

Author(s): Douglas Reese (MI)
Autumn Subtle Siblings

Written and Directed by David Lynch

Cast:

Sheryl Lee ... Laura
Melissa George ... MaryBelle
Justin Theroux ... Lavender / Vincent
Kyle MacLachlan ... Marvin Little / The Man with the Four Walls

Tagline: “A Nightmare Lived Moments Before Destruction”

Plot:

Sitting in the bathtub, he cuts his wrists. The water slowly mixes to red as he pulls his head under water, in hopes of leaving sound away from his worries. The sound of water. The sound of blood. The sound of death. The sound he wants. There is a green wall. It's odd because he can't figure out why this wall is green compared to the other three walls being brick and colored with yellow. He touches the green wall. It ripples like water, and it speaks. “The clock is thirty five years old on November.”

Laura watches the clock tick. For thirty five years that clock has been running on that same battery. The one the English settler gave to her when she was twelve. Her baby is Lavender and he is eleven with brown hair and green eyes. She is abusive to him, both physically and mentally. She begins to have an affair with a seventeen year old down the road. He is Vincent, and he is a blonde, with blue eyes, and a heart of gold. They begin to do nasty things in front of Lavender. Though Vincent, she slowly begins to unravel as she begins to abuse prescription drugs, and slowly begins to get her own boy hooked on them. It's not until one day at work as a stripper that she discovers she needs some time off for her kid, to get high with him, so she murders her boss, flees with his money, stealing the cow calender as well. It is beautiful to her and she plans to give it to Lavender. When she arrives home, she walks into the barn to see her dead son. He fell off a beam. His head crushed on the side of the rim of a tractor tire. All Laura can do is watch her son's soul be taken by black shadowed demons as the clock stops moving.

As soon as MaryBelle arrives, Laura is just fine. She is a replacement child. MaryBelle works for Marvin Little at the video store. It is there that she experienced the awful, suffering rape after rape by Marvin, and learning that she herself may hold the key to happiness by staying with Laura. Laura greets her in, feeds her, gives her a bath, and tucks her into bed. She then goes up to her bedroom... and the clock begins to move once more.

They stare at each other the next morning over breakfast, eating cereal, and obsessing over the death of Lavender. Discussing different ways that he could of died, and could have lived. The two walk through a tunnel that MaryBelle opens from under the kitchen table. They fall down in it until they arrive at a tire rim in which MaryBelle cracks her head upon. She's dead. And all Laura can do is die with her, as she is crucified on a cross by a man with a name tag that reads 'Satan'.

He still stares at the wall, this time it is yellow and all others are green. He touches it. It begins to flow like grass. He cuts his wrists once again and rubs it on the yellow grass before falling to the ground. He is then approached by a furry man. The man says, “Follow me.”

He does. He follows the furry man through a movie theater, up a glowing red staircase, and into a castle in which on the wall are pictures of MaryBelle being raped my Marvin. The furry man leads him through one of the pictures. He sees Marvin moving behind Marybelle and it upsets him. He grabs Marvin's head and pulls it back, and slices a his nails across his throat until he bleeds to death. The blood squirts onto MaryBelle and begins to eat away her skin. She screams and he tries to help her. His claws only make the wounds worse.

Laura takes her boy to the candy palace before she meets Marvin. She falls for him, and they return to the house. Lavender watches from the bedroom as they make love. He begins to see a small floating object make his way to his mom. The figure begins to eat away both Marvin and Laura. All that's left of them is worms, as they crawl from the bed onto the floor. Lavender runs away as the figure follows him. He hides in the basement until MaryBelle arrives. She speaks of the five days in which he would never sleep and how that when does sleep, he would never wake.

Once again, he stares at the wall. This time, it's two green walls and two yellow. He reaches to touch one of the green walls, but before he does, a knife slits its way through and it cuts through the wall, revealing a door. Opening the door, he falls into a bowl of blood. No sound but of water, blood, and the crunching of Laura's mouth as she eats the bowl of blood with cereal, and her son...

What the Press Would Say:

David Lynch continues the streak of brilliant and visionary dramas with “Autumn Subtle Siblings”, a bizarre but fascinating trip into the psyche of a fading life. Sheryl Lee is Laura, a very badly scarred woman that begins to realize her life is a mess once she finds the body of her dead son. When she discovers MaryBelle on the side of the road and takes her in, she begins to see MaryBelle as a replacement child. Melissa George is MaryBelle, a woman who seemingly acts like an eleven-year-old, who begins to treat Laura as a mother figure, and also holds a secret that leads Laura to lairs of her own dark and emotionally unstable mind, where she has never dared to enter before. With supporting characters such as nasty video store manager Marvin Little and the Man with the Four Walls, Kyle MacLachlan is superb at showing evilness, and dumbfounded confusion as both of his characters, doing it with an ease fit into Lynch's strange story structure. And finally, Justin Theroux is completely delightful as little boy Lavender, an eleven-year-old played by an older man, who constantly quotes nursery rhymes before his death, and also as Vincent... the teen in which Laura begins to have sex with. With a story as twisted, and blunt as this, it is impossible to put down a film such as “Autumn Subtle Siblings”, a horror film with a deep and well-covered meaning.

For Your Consideration

Best Picture
Best Director – David Lynch
Best Original Screenplay
Best Actress – Sheryl Lee
Best Supporting Actress – Melissa George

Author(s): Bank (OH)
Bank

Directed by: Luc Besson
Written by: Luc Besson

Starring:

James Franco as Jimmy Franconi
Daniel Day Lewis as Tony Franconi
James Caan as Roger Casely
Diane Lane as Lorraine Franconi
Evan Rachel Wood as Lucille
Ben Whishaw as Timmy
Ian McShane as Uncle Jimmy

Tagline: On the way to the rich, Souls become poor

Synopsis:
Tony Franconi
After Tony bought his first pack of cigarettes, he committed his first murder. As he took his first drink, his wife went into labor. She died that day while having his son. He was going to be a father he never had. That is why he dove into murder. He watched his great uncle jimmy closely and learned of things that happened after the big lights turned on. His new born son was not going to be like him. That is what his motivation is, he wasn’t killing for no reason. When Jimmy died, he became the boss. He took over for his great uncle and now his son did not have to take over for him.

30 years later
Little Jimmy was obsessed with her, his stepmother Lorraine. The only thing that was stopping him from reaching his goal to be with her was his father, the boss of the family. His father abused her, and forced her into the marriage. He never wanted to be apart of the crime. However, it attracted him. The parties, the girls and the money were a deadly mix. He was his father’s only son and people looked at him as a boss already. Him and his friend Timmy were much respected both coming from great families in New York. Timmy was the loose cannon, didn’t care about what nobody thought. He wanted part of the action and would persuade Jimmy into it at times. But Jimmy was a born leader and Tim knew his place.

Trust is deeper than the Canal
The drug business got too personal. Feelings started to become more important than the money, the police got in the way. Tony knew once he had to kill his own cousin for attempting to talk to the police, he had to change his business up right away. He still dealt drugs but that wasn’t his main focus. It was the banks across the world. He had already robbed almost 30 without getting caught. There was never room for snitching, after every heist him and his partner Roger Casely would kill the crew. Roger was his best friend, just like his brother. Little Jimmy came up to him with an offer to take over the family business. Tony never wanted this for his son, he wanted him to be something more. But who was Tony to stop him, but how could he trust his son. How could Tony think these things. One heist but before then Tony had to trust his one and only boy.

No More Friendships
His father set up an opportunity for him. He told his son to go with his right hand man, Roger Casely, to a family’s house who was talking to the police. Roger was always a good friend to Jimmy, more of a father at times than his own. When he arrived to the house, he recognized it as a childhood home he once went too. It was his old best friend’s home. His old best friend was fresh out of the police academy. Trying to get away from the crime. He had to stop being friends with him, end all communication. Today was going to be the last day of his friend’s life. Roger told him to go to the door so he could recognize a friendly face. He had to do it so he could be included for the bank job. His friend had a big smile on his face. There was still confetti on the floor from the graduation party. His young sister was asleep on the couch. His mother picking up dishes in the kitchen. His father died when he was three. That is how they became best friends. Both not having a father there in times of need. Roger soon followed him from the shadows. His once best friends face turned ghost white. The gunshots from Jimmy’s handgun turned it bloody red.

Business is more than an 8-letter word
Never let anyone come between business that was the motto that followed his life, since the day he started to remember things. He was now apart of the plans. This is what intrigued her. Lucille, a young rich girl from the other side of the road. She liked power, deceit and murder. The perfect example of a so-called good girl. She loved him but he did not want to be with her. He could see the greed in her eyes when they conversed about her future. His father told him never trust anyone not even him. When you let people in, that is what lets your soul out. He never found love, just obsession.

A Day Away
Tomorrow was the big day. The clouds over New York City began to fill with rain. He heard thunder but it was not from the clouds but instead from the knock of his door. As he looked in the peephole, he could see the beautiful blonde-haired woman of his dreams. His stepmother. She opened the door, her eyes swollen from tears. She admitted that she was in love with him and told his father. His heart dropped. He reached for his gun and put it to her head. He knew that if he did not kill her then he would die soon enough. She pleaded to him for her life. Telling him that she could see it in his eyes also. She could see the Tony that only Jimmy’s mother got to know, inside of him. It was not love it was just obsession. He put the silencer on the Uzi automatic and put his finger on the trigger. There was a knock at the door. Sounds from his father surprised him. He answered the door with the Uzi facing his stepmother. His father was in front of him with a big smile on his face. He patted his sons face. The blood splattered on Jimmy’s clothes. His father spread no tears but you could see the sadness on his face.

Initiation
He felt no mercy for the bum. This was going to be his initiation, Roger was getting too old to do this and Jimmy was next in line for the throne. Now Timmy had to prove himself so he could be Jimmy’s new right hand man. He took the man from the back seat. His face already beat to a pulp and duck tape over his mouth. He took the pistol off his belt and put it inside the snitches mouth. There was no need for explanation. Tim was just waiting for the phone call.

The next part in the saga of the Franconi family
Tony hung up the phone and began to reach for his heart as they approached the bank. The men told Little Jimmy that they were going to make a detour to the hospital. As his father slipped away, he stopped the men. Never let anyone come between business. His father died with a smile on his face. They sat his father up in the back and went into the bank as planned. In and out in less than 5 minutes. No police in sight. There was a planned murder on the other side of town. The gunshots attracted the police. When the car stopped in front of the warehouse Jimmy’s heart dropped as he looked at the money in the bag. The blank stare of his fathers face somewhat soothed him, he died with his eyes open. They say when that happens you deserved it. Roger cocked the gun back, Timmy pulled up. The young faces apart of the temporary crew in the two front seats looked with shock. Their fates were no different from the crews before them, just like Little Jimmy’s from his father before him.

What The Press would Say:
Luc Besson brings to screen another story of a characters alienated from his society similar to The Professional, a film that showed his true brilliance and this film furthers it. Already a household name overseas, Besson creates a story that will delve deep into the minds of movie goers. This is a film about a son and father who follows different paths but end up together at the end of the road.

The film opens up with the story of Tony Franconi, a flashback 21 years to the present day. The man that made this film possible. It shows his rise to fame and the destruction of his innocence in the dark streets of New York City. He is played by Daniel Day Lewis, the academy award winner of There Will Be Blood already well know for his method approach to acting. He proves he is the hardest working man in the acting business right now. He shows brilliance in making the character of Tony Franconi his own. He is ruthless and yet understanding, a role that somewhat at first shadows the role Robert De Niro made famous in the young Vito Corleone. But don’t get those two mixed up, Tony is a man who has no rules and would kill his only son (played by James Franco) if he had too. With Gangs of New York, and the role of Bill The Butcher. Daniel didn’t really add a lot of depth to that ruthless character. But with the role of Tony, the darkness is started with his mentor Jimmy and followed by his only loves death. The role of his mentor is played out by Ian McShane, the golden globe winner of Deadwood. Jimmy is the one with all the knowledge who still believes in the old days and doesn’t believe in change. When he died that is when Tony becomes boss of his family, that is when the light truly disappears.

The story shifts to present day, to a more clean New York City with less drugs on the streets and less drugs on the mind of Tony. You can see the withering his body and face had taken over the years. It is the complete opposite for his son Little Jimmy. The pretty boy who, to his fathers disapproval has been following his footsteps. Him and his best friend Timmy, portrayed by Ben Whishaw of the film Perfume, are two young men afraid to grow up and be like their fathers even though they are slowly becoming what they hate. Little Jimmy soon begins to loose his boyish traits and becomes darker. Especially when he commits his first murder. That is what leads him to kill his stepmother, portrayed by Diane Lane from Unforgiven, a person who he felt sorry for and wanted to lead her away from the pain of his father. She soon falls in love with Jimmy but with his father he kills her ruthlessly just like he did his best friend. James Franco is amazing with this role and shows the depth of the character he is portraying. He goes from the person who follows the rules to the person who makes the rules.

The supporting roles are just as good as the leads with James Caan returning to true form. He is the old timer and best friend of Tony Franconi, the only person Tony would die for. He plays the mentor of Little Jimmy. Evan Rachel Wood of Thirteen, owns the role of the rich girl snatched up by the darkness of the streets and adds another element to the story of Little Jimmy. She is all the reasons why he doesn’t want to fall in love.

Luc Besson paints a picture that delves deep into the mind of movie goers with its dark meanings and portrayals of characters. He deserves the recognition he has been looking for. From the opeing to the amazing fast paced bank heist at the end of the film, this film is epic. Please consider these awards come Oscar season.

FYC
Best Picture
Best Director: Luc Besson
Best Original Screenplay
Best Actor: Daniel Day Lewis
Best Supporting Actor: James Caan and James Franco

Author(s): Douglas Reese (MI)
When She Looked His Way

Edited, Produced, Written and Directed by Michael Haneke
Photographed by Michael Haneke and Darius Khondji

Cast:

Maggie Gyllenhaal ... Eliza Carter
Ryan Gosling ... Duncan Bright
Jennifer Carpenter ... Carrie Parker

Tagline: “And then there was one...”

Plot:

Eliza Carter had the perfect life. She had the perfect friends, and the perfect job. A lawyer, she is known for her extreme wit in the courtroom, and is well-respected, although envied, by her fellow workers. It's Christmas Eve, and she gets a call from her mother. She asks for Eliza to come home for Christmas, and that she has someone she wants Eliza to meet. Eliza heads for Wyoming before she sees a cat in the middle of the road. An animal lover, Eliza steers clear from the cat, and crashes into a snow bank. A car would pull over, and the driver would get out to make sure Eliza is okay. She is; and the stranger calls for help. He introduces himself as Duncan. And they would wait for the ambulance. They would come, take Eliza away. And she knew she'd never see that stranger again.

SIX MONTHS LATER

Eliza's best friend Carrie Parker invites her to dinner, wanting to show off her new boyfriend. Eliza shows up to the restaurant and is shocked to meet Carrie's new boy toy. It's Duncan. They shake each other's hands, they smile, and they have an awkward conversation. Carrie eventually gets too drunk and Duncan offers to give Eliza a ride home. He does, and when they head to his apartment, they forget Carrie in the car, and stop by the park and around the town, having fun. When they do get to the apartment, it's not long, they wake up the next morning, in white sheets, realizing they had slept with one another.

Eliza hurries to work. She is late and when she arrives, others complain. She is late for one of the biggest murder cases in New York's history. She is fired and before long, she is blaming it on Duncan, who wants to take her out to lunch. She reminds him that her best friend is his girlfriend and that they cannot see one another. They both feel bad about this, because they know they are in love.

It's not long that Carrie discovers Duncan had sex with Eliza. She dumps him, and leaves, never to be heard of again. Eliza feels terrible for it, but Duncan convinces her to come back to his old house in the woods, that he has to talk to her. She agrees, and he takes her to his place. While there, she walks into the house and sees it is a dirty mess. She asks if he ever cleans. He says, “Not since you stopped talking to me.” They talk, and then he asks to show her something. She follows him to the cellar. A dark and damp cellar, reminiscent of an old slasher movie. When she finally arrives he yanks her by the arm and shoves her toward a door. She falls in and sees people. Not just people, but dead people. Severed limbs, headless bodies, and one she saw the most familiar was the body of a woman dangling from the ceiling, her insides hanging from her stomach and chest. He grabs her by the hair and says, “Look! Look what you made of us!”

He would pull her off the floor, and he would drag her back up the stairs and would pull her into a bedroom. She would see a bed, with white sheets, stained with bright read colors. The blood is all over the place and Duncan makes an effort to lay her out on the bed, and handcuff her arms and legs to the head and foot boards. She would make an effort not to let it happen, but he wins. And she is trapped in his hell, as he pulls out utensil after utensil, and every day, Duncan would pick off one limb at a time, from fingers, to toes.

And he would do his work laughing. And she would scream. And she would cry. And nobody would come to save her. And it would not be long that it would get worse. He would chop off her arms, and her legs. And she would seem paralyzed, and incapable of doing anything. She would look his way as he would claw out her eyes.

What the Press Would Say:

Micheal Haneke had his crew for the first romantic comedy he was setting out to make. In fact, he presented all the crew with his screenplay, which was in tact with an ending involving the last scene on a New York pier as the way-in-love Eliza Carter and Duncan Bright share their final kiss. Unaware, the crew was, that Haneke had it worked out with his tiny cast, the real ending of the film. The four told nobody, and they snuck for one night to shoot the last thirty minutes in private. Haneke even photographed the final scenes – only adding to the gritty and uncontrolled final moments. Editing the film his self, he left the movie unrated, as to not give away the heavy violence or gore in the picture, and he managed to reach out – and slap many American moviegoers on their way to their typical rom-com fair.

“When She Looked His Way” is Michael Haneke's social commentary on Hollywood, and American moviegoers' lack of seeing pass conventions. What Haneke did could either A) upset many or B) make them realize how simple-minded lots of American films have become. “When She Looked His Way” is a risky film, advertised as a cheese-ball romantic comedy with two, well-known and loved stars; and being that cheese-ball romantic comedy, at least, for the first hour of the film. Haneke had many fooled, and he did a with “When She Looked His Way” with a stoke of genius. It uses Hollywood romantic comedy cliches such as “the having fun” and “sad we can't be together” montages set to the hippest music of that time. The drama that is childishly immature, such as, “you don't love me” or the classic: “baby, I can explain!” But as the film leads into more predictable territory, it takes a 180 degree turn. The film's final thirty minutes shift the film's tone. No more cheesy score or hip music. No more corny dialogue. And more gore than one can almost take. It's pitiful, it's ugly, and it's disturbing. But Haneke risks everything to spread his message, mainly through shock value, that after one watches the film, they can see that the 95-minute film has somewhat made them realize: “Why do we have to see the same films over and over? Isn't it better to be surprised?”

For Your Consideration:

Best Picture
Best Director – Michael Haneke
Best Original Screenplay
Best Actor – Ryan Gosling
Best Actress – Maggie Gyllenhaal

Author(s): D.W. Dillon (NV)
Hedy

Directed by Wim Wenders
Written by David Self
Music by Ry Cooder

Principal Cast:
Natalie Portman as Hedwig Keisler/Hedy Lamarr
Nastassja Kinski as Hedy Lamarr
Ulrich Muhe as Fritz Mandl
Ben Chaplin as George Antheil
Thomas Bo Larsen as Adolph Hitler
Bob Gunton as Louis B. Mayer
Clotilde Courau as the Maid

Tagline: "Made up to break up."

Synopsis: France-1937, after pawning her wedding ring, the lonesome Hedwig Keisler (Natalie Portman) auditions for small plays but a chance encounter with movie mogul Louis B. Mayer (Bob Gunton) became her big break. At his insistence, she would now be known as Hedy Lamarr, the star of such films as Algiers, Boom Town, The Great Zigfield and DeMille's Samson & Delilah. Hedwig, like many, made bad choices, turning down Oscar-winning films such as Gaslight and Casablanca for dumbed-down comedies like My Favorite Spy. She was in a state of limbo. A string of husbands came and went. The only headlines she would grasp now would be that of shoplifting. Though not all was lost for Hedy as she formed a close bond with her neighbor, German-born avant-garde composer/inventor George Antheil (Ben Chaplin). She had finally found someone to relate to and be joyful with. His brazen musical talents sparked her muse. They had big plans for the world but a tortured past halted any advances he would make, but together they would develop the frequency hopper that made it harder for enemies to detect radio-guided torpedoes. Though their invention was not implemented until the Cuban missile crises of the 60's, it laid as the basis for wireless phones.

Orlando, Florida-2000, Hedy's (Nastassja Kinski) legacy had now been cemented with a Hollywood star on the Walk of Fame, numerous awards from the science world and a biographer to document her life. Once the "Most Beautiful Woman In Films" now the "Woman of Science", with all her critical acclaim still battled the demons of her past that plagued her nightmares. How could she face god knowing she had slept with the devil. As she lay dying, her confession would be her salvation.

Austria-1933, the infamous actress of the x-rated Czechoslovakian film "Ecstasy" steps to the alter to marry the wealthy, older, arms manufacturer and fascist, Fritz Mandl (Ulrich Muhe). Little did young Hedwig Kiesler (Natalie Portman) know, he was as much of a tyrant as the leaders he supported; never one to hold back a raised hand or not force himself upon her at his leisure. He even went so far as to purchasing every copy of her notorious film, while keeping her locked away in his castle, where his French maid (Clotilde Courau) kept an ever watchful eye on her. Otherwise, at his side at all times, he often took her to his manufacturing plant where, Hedwig, a closet-math genius learned all she could of the art of weapons manufacturing. She honed the craft and the business, since her newfound acting career laid halt to her husband's insecurities. The weapons plant wasn't the only place Fritz would take her. To obtain key support in business and in society, Fritz hobnobbed with the likes of Adolf Hitler (Thomas Bo Larsen). His advances had made her stomach churn. She was a prisoner in her own marriage. She would close her eyes, and let the powerful man of Germany, wreak himself upon her body. And so the parties raved on. But they had taken it's toll on young Hedwig. Convincing Fritz to letting her wear all her expensive jewelry to attend the next gala held at the fortress he called a castle, she would plot her getaway. Their eyes watched over her like hawks but perfect-timing led to her escape as she slipped three sleeping pills into the maid's nightly java and her husband's wine glass. She was free from the prostitution, free from the evil. She had to make things right.

Hollywood, California-1942, the glamorous leading lady of MGM studios, Hedy Lamarr (Natalie Portman) holds an extravagant fund-raiser where she is surrounded by all of Hollywood and their wallets. She would clear 7 million dollars in this single evening by selling war bonds to support the fight against the Germans. So much money, and so many people...she was definitely one of a kind.

What the Press Will Say?: Acclaimed German director, Wim Wenders with such films under his belt as the influential "Wings of Desire" and "Paris, Texas", pays homage to one of Austria's most celebrated and misunderstood icons of all time, actress Hedy Lamarr. This fascinating look into a person, whose scars she kept as a reminder to make more of herself. To make more than the evils that tried to define her. Wenders' use of black and white film creates much depth and style. A scene that will be forever remembered is Hedy's sly and thrilling escape from the clutches of her husband at the castle Schwarzenau. A sort of Hitchcockian moment in the film. Tracking Hedy's ever movement, we feel as if we are wandering through a video game, not knowing what monster may lay in wait, with a time clock ticking.

As the young Hedy Lamarr, Natalie Portman, in a maturing performance defines assassinated beauty. With most of her dialogue in German, she brings out her innermost Lolita as something beautiful, yet dare not touch. But she is touched and she is taken and abused. Those bruises hurt even more as we discover her brilliance and potential as she lays the groundwork for her escape from the clutches of evil men such as her husband Fritz Mandl, played by the fearless German actor, Ulrich Muhe (The Lives of Others, Funny Games) and of course Thomas Bo Larsen's (The Celebration) Adolf Hitler. Larsen's Hitler is spooky and unpredictable as a man at the height of power, completely insecure and violent. They are attracted to Hedy through her beauty, but are disgusted with her at the same time. They shower her with money, as if it were mere paper made out of a broken tree. When she escapes, the audience does as well. To a new light and a new life. She is the starlet of her era but like most stars, she falls from the sky. Her undying and uncompromising quest to be righteous is backed with her genius from selling millions of dollars of war bonds in WWII, as well as her crowning achievement of laying the groundwork for the invention of the wireless telephone. Ben Chaplin as her eccentric neighbor helps her create what will change the way of life as we know it today. Their affair is quite delicate with a cautious Hedy finally letting love in, and a true friendship that lasted till the ages. A truly admirable lost art. Natassja Kinski teams up with Wenders for the second time to play the elder Hedy who is bittersweet about receiving her acclamations and recognition, all the while holding that everlasting skeleton in her closet; the affair with Hitler filled with empty kisses, and her loveless slavery of a marriage. Her recognition to science and life help her to confess her sins of the past. She beats herself up, not for the pain of what they did to her, but because she didn't know how to fight back.

Writer David Self's (Road to Perdition) script resonates Hedy's story through the masses. She faltered yet had quite a way about her. Unselfish, proactive and provocative, full of sorrow, yet so pessimistic. There were few people like her in show business. "Hedy" is a remarkable tribute to those who are more than just actors.

This bait is dedicated to Paul Newman (1925-2008).

Best Picture
Best Director - Wim Wenders
Best Actor - Ulrich Muhe
Best Actress - Natalie Portman
Best Supporting Actor - Thomas Bo Larsen
Best Supporting Actor - Ben Chaplin
Best Supporting Actress - Nastassja Kinski
Best Original Screenplay - David Self

Author(s): Chris Perkins (IL) & D.W. Dillon (NV)
You Send Me

Directed and Written by John Sayles
Produced by Will Smith, James Lassiter, and Steve Tisch
Music by Craig Armstrong
Editing by Terilyn A. Schropshire
Cinematography by Phedon Papamichael

Principal Cast
Will Smith as Sam Cooke
Don Cheadle as Bobby Womack
Jeffrey Wright as Lou Rawls
Clarence Williams III as Art Rupe
Giancarlo Esposito as Bumps Blackwell
Andre Benjamin as Johnny "Guitar" Watson
Lela Rochon as Barbara Cooke
CCH Pounder as Bertha Franklin
Halle Berry as Elisa Boyer

Tagline: "When our nation was in turmoil, his voice helped pioneer the change."

Synopsis: Sam Cooke (Smith) stirred the souls of many as the voice of gospel music in the 50's and reached the glorified masses when he would cross over into pop with his number one single, "You Send Me" in 1957. This is a time of racism and shady contracts in the music business, but Sam Cooke demanded respect. A facile songwriter in his own right, he composed such hits as "Wonderful World", "Chain Gang" and "Another Saturday Night". His voice was calming and soaring, hitting every note from top to bottom. The most influential man of R&B...Mr. Sam Cooke!

He battled hard to break away from gospel. The tyrannical puppet master-head of Specialty Records, Art Rupe (Williams III) the marketable secular standards, but with the help of flamboyant music producer Bumps Blackwell (Esposito), Cooke would take his talents and break away from the heavens. 1961 found Sam Cooke heading his own label, securing all the rights to his own music and lending his hand to artists like Bobby Womack (Cheadle). A talented songwriter who penned the hit, "It's All Over Now" for the Rolling Stones. Womack lacked the flair and style of Cooke, who became more of Cooke's butler at home than as a musical protege. Second to none though, was Lou Rawls (Wright), Sam's oldest friend who would record an unforgettable backing vocal on Cooke's classic track "Bring it on Home to Me". Then there was Johnny "Guitar" Watson (Benjamin). As Sam Cooke's on and off again guitar-man. As a Former southern blues singer turned soul performer, he ditched the pompadour for a pimp hat. His gold teeth, fly suits, obnoxious jewelry laid the groundwork for funkadelic. He didn't only provide Cooke with masterful guitar-work but also an outlet for beautiful women. As a real pimp, Johnny "Guitar" reluctantly made more money than his guitar playing. Cooke's insatiable appetite for women was legendary and nobody knew it more than his own wife Barbara (Rochon). Their relationship battles would ring through the luxurious Cooke estate, at times even spilling out into the studios.

December 11th, 1964 was an un-cloudy day, but the storm had brewed in the Cooke household from the moment Sam woke up to his annoyed wife. A night out with friends would only add fuel to the fire and that's exactly what Sam intended to do. As the beautiful "party girl" named Elisa (Berry) warmed up to him at the California Club, they would twist the night away. Drunk and high, with a pocket full of cash, the charming Sam Cooke took Elisa to quite an un-charming place. The seedy but popular musician motel Hacienda, where groupies often sealed the deal, was their destination. This wasn't your average deal and Sam Cooke would not record another song again. The prostitute cried out rape, yet she had stolen his clothes and his wallet. The foul-mouthed clerk, Bertha Franklin (Pounder) cried out murder before she shot him dead in her motel office. The two women who last saw him, left him beaten, bruised, and full of bullet holes, lying naked in his own pool of blood. Nobody will ever know the true events of Sam Cooke's death but it would lead to an unfortunate aftermath. Bobby Womack suffered a backlash in his career after marrying an unemotional Barbara days after Sam's death. Johnny Guitar's gangster lifestyle would catch up to him, causing the death of a friend. Lou Rawls, now a man full of anger at all those "paying respect", could barely sing the words "A Closer Walk With Thee" at his dear friend's funeral. The music had died again.

Inspired by a Dylan tune, Sam wrote in a heavier mood. "A Change is Gonna Come" was his masterpiece, and he sang it like it meant something. Singing out for Civil Rights, his death would not fade out the light. He would not see it's release, but he shaped out a legacy. You were inspired right there in the crowd, and he loved you till the sun fell down. His name was Sam Cooke, ya know, and he knew how to rock your soul!

What the Press Will Say: Sam Cooke was one of the most prolific performers of his generation. His voice captured the essence of the sorrowful and heartfelt determinations of those who fought so persistently throughout the Civil Rights Movement and paved the way for what we know today as soul music. In the new and powerfully moving film, "You Send Me", Cooke's tumultuous yet incredibly innovative life and career are carefully examined and handled with much detail, emotional realism, and honesty by writer/ director, John Sayles ("Honeydripper"), whose crafted an amazing piece of work. The fervor and astounding effort put into this film is evident from beginning to end. Sayles' screenplay exceeds the usual biopic formula and tells a profound story about a man who was more than just a pop artist but someone who spoke and lived through his music. Also, the direction brings depth and authenticity to the 50's-60's atmosphere and is able to convey various moods and emotions through all the characters without going crazy with the camera.

Will Smith, is beyond debate, the biggest movie star on the planet and here he tackles on the very challenging task of portraying one of the most alive and charismatic singers of all-time. Smith, who has played important real life figures in the past, delivers an obvious career best performance. Smith embodies Cooke's persona without mimicking any of his mannerisms and strongly conveys the audience with his brilliant and soaring musical sequences that help paint the complexities behind the man. Smith is not only able to dwell deep inside this man's mind but creates a character that is both passionate and soulful but at the same time struggles within a corrupted marriage, indulges in occasional womanizing, and maintains a sense of pride during a time when securing dignity was the only way to get by.

The supporting performances are without a doubt just as mesmerizing. Don Cheadle plays Bobby Womack, Sam’s faithful musical protege who eventually weds Cooke’s widow in fear of her desperation and uncontrollable madness. Cheadle’s incredible depiction shows the length this man took while proving his loyalty as a friend, the saddening causes of a latent betrayal, and the scandalous backlash that tainted his life and career. Cheadle is able to mold a character, that isn't necessarily a villain or a traitor, but a man confused about the decisions he’s supposed to make and the unfortunate instances that shape his fall from grace. Providing the film’s most surprising and transcendent performance is Andre Benjamin who takes on the role of Sam’s eccentric and hard living guitar man, Jimmy "Guitar" Watson. Benjamin is unbelievable here in a role that is played to perfection. There’s never a moment when Benjamin lets Watson’s persona or flashy costumes get in the way of him delivering a remarkably difficult performance that at times rings moments of sympathy and heartache. Watson is made into a three dimensional human being faced with the pressures of staying true to his music and amoral side profession. Finally, Halle Berry gives an exceptional performance as Elisa Boyer, a freewheeling and frisky prostitute who becomes the attention of Sam's desires and ultimate downfall. Berry manages to produce a woman, who with little background, into a truly fascinating character. The audience becomes invested in this woman's secret perplexities yet still remains optimistic about her true motives. It's a great career turning role.

Overrall, "You Send Me" is one of the best films of the year. Its an exciting, riveting, and masterful experience filled with spellingbinding performances, outstanding writing and directing, and magnificent technicals. A definite must see.

Awards Consideration
Best Picture
Best Director - John Sayles
Best Actor - Will Smith
Best Supporting Actor - Don Cheadle
Best Supporting Actor - Andre Benjamin
Best Supporting Actress - Halle Berry
Best Adapted Screenplay (based on the biography, "Dream Boogie: The Triumpth of Sam Cooke")

Author(s): Hugo Manso (Spain)
Friends Forever

Written and Directed by Don Roos
Cinematography by Haris Zambarloukos

Cast

Amy Adams … Felicity
Lisa Kudrow … Amelia
Samantha Morton … Jena
Ethan Hawke … Mike
Edward Norton… Clint
Matt Damon… Patrick

Tagline: “Some feelings never die”

June 1985.

Salinas, California. Six friends in their late teens engrave “Friends Forever” on a tree.

It was so easy back then. Amelia, Clint, Felicity, Mike, Jena and Patrick friends since school. So many friendship promises, romances, adventures. When the high school ended they began to distance. Almost everyone left Salinas.

Amelia, (Lisa Kudrow) dreamer, absent minded and mature. She had always wanted to be a writer. She got to see her dream come true. Her book was published but without success. She lives in New York. Very deep in her mind remain buried that relationship with Clint.

Clint (Edward Norton) never got to move on with the break up. Amelia had always been his girl and would always be. Even though he got married and had a daughter but tragically his wife died in a car accident. Now his daughter is nineteen and emancipated. He lives in San Francisco.

Felicity (Amy Adams), the sweet, innocent, beloved by everyone and full of goodness girl. She’s the youngest of the group and still lives in her hometown. Since they were fifteen she had been going out with Mike. But everything changed when ten years later Mike left to achieve his dreams. She has recently been diagnosed with lung cancer.

Mike (Ethan Hawke), naturally vague and stubborn. His greatest challenge in life is to be an actor. That’s why she left Felicity and went to Los Angeles looking for Patrick.

Patrick (Matt Damon), ambitious and self confident. He left Salinas at eighteen to word as a director in Los Angeles. Soon he became a renowned director y his films were shown in most important festivals. When Mike arrived asking for help, Patrick gave him parts in several movies. But they didn’t worked out. Mike wasn’t good at least in Patrick’s opinion. Finally they split up.

Jena (Samantha Morton), the everlasting mother of the group, caring and reliable. She also stayed in Salinas. She’s married and has three children. She’s happy as she is. With her family, her house and she also keep in touch with Felicity. She’s who tells the others that Felicity has Cancer and urge them to come back to Salinas.

June, 2008.

Finally all of them get together too see Felicity. The reunion isn’t as pacific as Jena thought. Mike and Patrick refuse to talk to each other. Amelia and Clint argue about the past. Unfortunately Felicity gets worse. She’s about to die. Jena angry scold her friends and tells them that if she had known what would happen she wouldn’t have called them. After this Mike react and quickly goes to talk with Felicity and spend her last days with her. Patrick fix things with Mike and offers him a part in his new movie. He turns it down. He says that he’s going to stay in Salinas, he shouldn’t have left. Finally Felicity dies.

The day before the funeral Amelia and Clint prepare to say goodbye, but they can’t. They’re still in love. They decide to leave everything and stay in Salinas together. One year later Amelia would publish a book about their story entitled “Friends Forever” with the picture of the tree in the cover.

What the press would say?

“Friendship never dies” that’s the tagline of this movie. The newest from Don Roos. We’re talking about a beautiful film with stunning performances and a stunning cinematography. Zambarloukos has capture the beautiful Californian landscape in this movie. The casting is filled of well known faces in the Bait an Oscar community. Two times Oscar nominee Lisa Kudrow stars as Amelia the unsuccessful writer. The absent-minded, elder friend. Her last scene, which happens to be the last of the film too, where we see her doing an interview about her book. She steals the show with the last words of the movie: “No matter how far you go, how many people you meet or how many loves you have. You will always have your home and someday you will return to face your past”. Two time Oscar winner, Ethan Hawke starts as Mike. Tour de force performance. His best part is when he’s in the bed next to dying Felicity and apologize for leaving. Oscar winner Amy Adams is without a doubt the most surprising part of this film with her incredible work. In the first part Felicity is shown as the cheerful girl in her late teens but in the second part, when she’s in her late thirties you truly notice the amazing transformation she has made. Truly stunning performance that will have you thinking for hours. Oscar winner Edward Norton plays as Lisa Kudrow’s love interest, Clint. He also does a powerful performance showing how loneliness can be you worst enemy. Finally Oscar nominee Samantha Morton as Jena the connector of the story. Her part is not as meaty as others but she truly knows how to make it so. The definition of supporting performance.

For Your Consideration

Best Picture
Best Picture Drama (HFPA)
Best Direction – Don Roos
Best Screenplay – Don Roos
Best Cinematography – Haris Zambarloukos
Best Actor – Ethan Hawke
Best Actress – Amy Adams
Best Actress – Lisa Kudrow
Best Supporting Actor – Edward Norton
Best Supporting Actress – Samantha Morton

Author(s): Pierre Davis (OH)
Part 1

Directed by Quentin Tarantino
Written by Quentin Tarantino
Produced by Quentin Tarantino and Danny DeVito

Main Cast:

Josh Brolin as Paul
Ashton Holmes as Jimmy
Viggo Mortenson as the Man in the Bright Red Leather Jacket
Terry Crews as Ulysses
Marley Shelton as Angela
Tim Roth as the Husband
Eric Stoltz as the Taxi Driver

Tagline: The first part of a story always grabs the attention.

Cool As An Alley Cat:
Paul woke up with no trace of what happened last night, the night before that or let alone 10 years ago. He just woke up in an alley with muddy clothes and 20 dollars in his right pocket. As he is trying to get a grip on what happened to him, he finds a card in his left pocket that reads “Ulysses tattoo shop”. Looking at his arms and realizing that he has more than a couple of tattoos he starts thinking this might be a clue so he waves down a cab. The Taxi driver begins to talk to Paul and tell him stories of his previous profession, which was him, being a drug dealer and how what changed his life was when he saved a woman (well he didn’t really save) from overdosing. He laughs because the next day after all that happened he found his girlfriend dead, choking to death from 1 of her many piercing. Paul gives the taxi driver the money and the taxi driver says “No Tip”? Paul says…………

Unholy Graduation:
Jimmy is a hit man in training under the wing of his recently retired Uncle Paul who never wanted him to be a hit man in the first place. This is the so called day of his initiation so he can go and start making money but the only thing is that the teacher is not here to give away his diploma (which is a chrome 22 caliber with a golden handle). After calling around to see if anyone had any clues he doesn’t get the answers that he was looking for. As he grabs his bright blue jacket to go and leaves to see “Wise Guy” he sees the most frightening thing imaginable. A man in a bright red leather jacket.

You’re The Lucky One:
Ulysses is having one of the best days of his life. A man just came in and spent almost 1000 dollars for a full sleeve of his own art. It’s beautiful outside, no nagging wife calling his cell phone and most importantly “Wise Guy” hasn’t sent anyone in to try and get a tattoo for free which he hates. Until he sees one of the guys coming in and the guy is Paul. Only today Paul doesn’t seem to be that much interested in getting a tattoo. Paul begins to ask him questions like who is he, what’s his name and why was he in an alley when he woke up. Ulysses answers a hit man, Paul and he doesn’t know but he is sure he will find out soon enough.

Kisses and Thank-Yous:
Angela was the prettiest girl in school with all the boys going after her, fantasizing about her and leaving the janitor made at school with all of the nasty tissues in the bathroom. She grew up to be a successful woman having a beautiful son but unfortunately marrying a stern husband. Her husband was ruthless, beating the beautiful woman in front of her kids. She wanted to leave him but every time she would plan to he would always find her. Until one day when there is a knock at the door from a man delivering a package of some sort. Angela couldn’t open the door since there would be a punch if she would. When she calls her husband down he gets angry since he was in the middle of taking a number 2. While she is waiting for her husband come downstairs she sees a letter slide through under the door. She picks it up and it reads “Go sit on the nearest chair”. At first she looks out the window but sees no one there but she decides to sit on the chair. When her husband comes stomping down he gives Angela the stair of death, which means after he answers the door there will be a humiliating beating from him. When he puts his hands on the doorknob all of a sudden there are numerous gunshots through the door. When Angela gets up from hiding behind the counter she goes to the door and peeps through the gunshots in the door. She sees a card on the porch which has “all kind of different bright colors on it”. On the back of it, it reads “Thank Your Son”. She turns around and finds little George smiling at his mom.

Sweet as Candy:
As the man in the bright red leather jacket stands in front of Jimmy, Jimmy starts to shiver in his boots. Sweating bullets as if was going to reload his pistol. The man in the bright red leather coat reaches in his pocket and takes out a laffy taffy. When he opens up the laffy taffy and begins to chew the candy he also reads the joke on the paper. “Where can you find an ocean without water” is the question he asks. “Jimmy says I don’t know, where? He hears the sound of his gun cocking back, and the man begins to say something until they both hear the toilet flush and someone say “On a map” and then the person shoots “the man in the bright red leather coat” in his head.

Familiar Ride:
Paul leaves the tattoo shop confused, asking himself if he is a hit man then who is it he works for. He starts to walk down the street until he sees a dark black Porsche pulling up next to him with a man in a bright red coat asking him if he needed a ride. Paul sees the tattoo that is also on his hand on his hand so he agrees. When he gets in the car the man asks Paul where he should take him. Paul shows the man his tattoo and says wherever you are going. The man reaches in his pocket and pulls out a laffy taffy. He begins to ask Paul a question off of the wrapper. The Man asks Paul “What did the tree say to the mountain”? Paul begins to think and then closes his eyes when he opens them everything starts to come back. Paul hears the Man cocking his gun back and says “Stop peaking at me”. Paul then jumps out of the car and runs into the darkest alley he can to get away from the man in the bright red leather coat.

Death:
Jimmy sees his uncle come out of the shadows holding onto his gun. He begins to ask what is going on. Paul says that they are about to go on the most dangerous missions ever. Jimmy asks what kind. Paul goes into his room and brings out the diploma and then says a “Wise Mission”. Paul grabs his bright green jacket and leaves the house.

What The Press Would Say:
Quentin Tarantino brings you the first part of a planned trilogy and if this film is any indication of what is to come then there should be plenty of awards on the shelf in Quentin Tarantino’s home. This type of storytelling will go down as legendary and so will the scary-good performance from Academy Award Nominee Viggo Mortenson. The film is fortunately not measured by just those two; the performance from the cast in whole is worth noticing and is Quentin’s coolest film since Pulp Fiction. Josh Brolin, who is riding off of the success of starring in the blockbuster “American Gangster” and Academy Award winning “No Country for Old Men”, brings a noteworthy performance as the man struck with amnesia. As with every Quentin Tarantino film this film a mixture of great writing and great acting. Unfortunately it is up to you to figure out what is the best.

For Your Consideration:
Best Picture
Best Director
Best Original Screenplay
Best Actor: Josh Brolin
Best Supporting Actor: Viggo Mortenson
Best Supporting Actor: Eric Stoltzeshi Kitano
Best Original Screenplay

Author(s): Adrian James (TN)
Wonderland

Directed by Richard Kelly
Written by Richard Kelly

CAST:
Jena Malone - Alice
Jeffrey Donovan - The Mad Hatter
Ewen Bremmer - The March Hare
David Thewlis - The Cat of Cheshire
Mary-Louise Parker - The Queen of Hearts
Malcom McDowell - The White Rabbit

TAGLINE: Curiouser and Curiouser

SYNOPSIS:
Staring in the mirror, looking at her pitiful self, Alice thinks. "How brilliant would the sweet release of the razor feel on my veins, taking me away from this place? Would it be the loving embrace of the otherside, or only a more formidable hell? There's only one way to find out......"

Down, down, down she goes. Down the rabbit hole.......

Alice awakens is a circular room, shadowed only by the light of a blazing fire. In an easy chair, reading a copy of The Picture of Dorian Gray and sipping on a glass of brandy, is a seasoned man in a black tuxedo. He turns to look at Alice, and studies her for a minute. Speaking slowly and crisply, he states that she is now in Wonderland, the place between above and below. When asked who he is, he simply says, "You may call me, The White Rabbit"

Confusion clouds the mind of Alice. The world she knew has turned into this topsy turvey, hellish place. Looking out the window of the White Rabbit's hilltop home, she peers over this "Wonderland" and sees a terrible landscape. Giant cards are marching in formation to the sounds of trumpets roaring. Villages of wildflowers are being burned, while children are being massacred in the streets. On every lightpost is the picture of the same, strangly beautiful woman, in her red dress and crown. Alice turns around to look for The White Rabbit, but sees he is nowhere to be found. She runs down the hallway and somehow ends up in a dark forest. Suddenly, a grim looking man appears from behind a tree, laughing maniacally. She is curious as to who he is. "I am the Cat of Cheshire. You look like you need help finding your way."

The Cat of Cheshire tells her about the woman in the posters. She is the tyrant of Wonderland, the Queen of Hearts. Her and her Deck of Cards, the secret police who govern this realm, took over power long ago, and ruined the beauty that beheld Wonderland. The inhabitants have all become cannibalistic, and vile. Only a few good remain, but they are in hiding. The Cat then tells Alice that many years ago, The Catepillar, a wise old prophet, foretold of a human girl, coming to the realm to dethrone the Queen. This girl would be marked with a ruby necklace. Upon hearing this, Alice felt her neck, and remembered that the razor had given her a ruby necklace. Now, the Queen has gotten word that the girl the prophet foretold of is in Wonderland, and she will stop at nothing to get rid of her.

Alice doesn't want to be in Wonderland anymore. She asks the Cat how she can get home, and the Cat tells her to go see the Mad Hatter. "I don't want to see anyone that's mad." "Why dear, can't you tell? We are all a little mad here." The cat laughs maniacally and dissapears.

The White Rabbit walks through the Red Rose Garden towards the Queen's castle. He makes his way up the grand staircase to her majesties chambers. He interupts her interrogation of a pair of twins who met with a certain ruby-laced girl this morning, but all is well. They aren't talking. "Off with their heads" she says calmy, seductively. The White Rabbit informs the queen that Alice is trying to find the Mad Hatter. The Queen dispatches her Deck to hunt down this girl.......

When Alice arrives at the Mad Hatter's place of residence, he is with his friend and assistant, The March Hare. They are preforming experiments on a Dormouse, trying to change the eye color of it. She introduces herself, and right away she dislikes the Hatter. He keeps looking at her the way her father used to. The March Hare starts to play with her hair, and fiddle with her dress. The Mad Hatter starts to unbutton his shirt, and Alice knows whats going on. She has no power to stop it. She is defenseless, weak....

Out of nowhere, the door bursts open and she sees the Deck of Cards coming to her rescue. They take their spear and plunge it into the chest of the March Hare. The Mad Hatter runs out the back door, trying to escape. He is not able to, and is made example of by the Cards. "Here, to all you who defy the Queen of Hearts! Look upon your glorious ally, and envision what could happen to you." Alice is taken into custody by the Cards, and she leaves the Mad Hatter's house, she sees his body set a flame, and she can't help but to smile.

Alice meets with the Queen of Hearts and the White Rabbit. But unexpectedly, she notices someone else in the room. The Cat of Cheshire. He betrayed her. The Queen tells her that she will never take the throne away from her. Alice assures the Queen she has no intention of this, all she wants is to go home. But the Queen tells her no. She made the choice to come to Wonderland, and now she will have to live in her dungeon for the rest of eternity....

Staring in the mirror, looking at her pitiful self, Alice thinks. "How brilliant would the sweet release of the razor feel on my veins, taking me away from this place? Would it be the loving embrace of the otherside, or only a more formidable hell? There's only one way to find out......"

Down, down, down she goes. Down the rabbit hole............

WHAT THE PRESS WOULD SAY:
The window opens up to a dark, dreary cobblestone village. Women and children run from men dressed in black and red, marching in single file lines with torches and pitchforks. They burn everything in sight, and slaughter hundreds in their quest for purity. Now this may sound like a holocaust film, but is, in fact, Richard Kelly's vision of the realistic world of Wonderland. This adaptation of the classic child's tale is not a remake. It's not a live action version. It is the true form of adaptation. Not just adapting the story, but the theme and essence of the tale.

In the original, a little girl named Alice is sick of the hardships faced in her world (reading books, doing chores, etc.) so she dreams of a wonderful place where up is down, right is left, and nothing is as it should be. But Alice quickly learns that sometimes what you want is not what you thought it would be. And thus is the theme of Wonderland. A depressed, hardened woman named Alice (played with a brilliant wit and a saddened heart by Jena Malone) tries to escape the troubles of her world (loneliness, abuse, rape) by going to a better place. So she attempts to commit suicide, and is then thrown into the waiting room, so to speak. She goes to "Wonderland" where things are not what she expected at all. She sees all the troubles she faced in the real world, personified into extremities in this place. The abuse she suffered, the betrayals, everything that horrified her in the real world, is in Wonderland, but only worse. All the characters she meets, makes her realize that what she had was what she needed, and what she wanted wasn't at all what she thought it would be.

Richard Kelly has delved into the realms of intellectual philosophy before with 2001's Donnie Darko, where he investigates the possibility of death, and how different people see it. What choices you make now effect you down the road, or simply down the block. Now Kelly investigates the possibility of life after death, and the choices you make while you live, effect the eternity of where you stay. Some could see Wonderland as purgatory, where Alice needs to learn from her mistakes before she goes either up or down. Others could envision Wonderland as the indefinate hell, the Queen of Hearts being the devil, running all the evil that lives their, and dealing out punishments. Alice never has any chance of making it out, but only imagines she does. Another idea on Wonderland, is that it is all a figment of Alice's overactive imagination. All could be plausible, but it all depends on the viewer.

The film is filled with amazingly surprising performances. Jena Malone carries the film particularly well, especially for someone with very few leading performances, this could be the one to get her recognized as a serious, lead actress. Other standouts include Malcolm McDowell as the eccentric, elderly man who is the "White Rabbit". The thing Alice is looking for, but can never quite reach. David Thewlis is awesomely creep-tastic as the Cat of Cheshire, who is the one person who helps Alice. Ewen Bremmer and Jeffrey Donovan are brilliantly scary as the Mad Hatter and the March Hare. But possibly the strangest, and most bold performance in the film comes from Mary Louise Parker. Normally, she does quirky, funny, yet dramatic role (Angels in America, Weeds) but she really goes out of the box as the evil, subtle Queen of Hearts. The entire ensemble really is extraordinary.

Richard Kelly delivers one of the greatest directorial achievements this year, and the film is nearly flawless. The scenes are set up so elegantly, and so thoughtfully, that the end result is jaw-dropping. One hell of a film, and one that is sure to be remembered for a long time.

AWARDS POSSIBILTIES:
Best Motion Picture
Best Director - Richard Kelly
Best Actress - Jena Malone
Best Supporting Actor - Malcolm McDowell
Best Supporting Actress - Mary Louise Parker
Best Adapted Screenplay

Author(s): Adrian James (TN)
Centennial

Directed by Gus Van Sant
Written by Matt Damon and Gus Van Sant

CAST:
Neil Patrick Harris - Gary Truman
Robin Williams - Karl Shearer
Matt Damon - Andrew Willoughby
Chad Michael Murray - Michael Shearer

TAGLINE: Based on a True Story

SYNOPSIS:
August 17th, 1987. Centennial Park, Tennessee.
Gary Truman walks down his usual route past the fountains and the playground built for the children, but used by the teenagers. He passes the rose gardens, and then he nears his getaway. But he cannot escape the feeling that he is being followed. A shadow seems to follow him wherever he goes, elongated by the separation between each lightpost. The air is surprisingly chilly tonight, even though it is summertime. His breath hangs on the air as he pants. Suddenly, a loud set of footsteps graces his ears, so he turns to look, only to find a knife has been plunged into his stomach.......

Karl Shearer is the divorced father of two. Michael and Sharon. His eldest, Michael, used to be a good boy. He would play on the high school football team, go out on Friday nights with cheerleaders, and was the ideal son. Then he screwed everything up when he announced to the family that he was gay. Ever since then, Karl has had a passionate hatred for homosexuals. They took away his only son, warping his mind. He would often go and sit at Centennial Park during his days away from the precinct and just watch, and wait. He would observe the twinks who called this place home. At nights, it was a popular place to pick up a "date". One night, he saw a familiar face in the park. His son Michael. His son was meeting with one of the residents of Centennial, some young man with blond hair, and a frail looking body. He could have been homeless, but that didn't matter. Karl followed the two for the night, until they finally stopped at his son's apartment. He couldn't take the disgust any longer, turned to the streetside garbage can, and vomitted.

November 23rd, 2003.
Andrew Willoughby has just discovered a cold case file accidentally buried in the bottom of his desk. The case was from nearly 15 years ago, involving the stabbing of a gay homeless man in Centennial Park. Andrew was very closed off to the world. He didn't go out on dates, and he didn't have any friends. All he had was his work. And whenever he found an unsolved crime, he would always take a crack at it. But this one was different. It seems that the officer in charge of the case had never done anything else except file the facts and store them away. He looked through some more old files and found the name of the officer put on the case. Karl Shearer.

WHAT THE PRESS WILL SAY:
Gus Van Sant creates an incredible mosaic of human loss and emotional struggle with "Centennial", his newest masterpiece. The story revolves around the intermingling tales of three characters, Gary Truman, a homosexual man living in a city park in the late 80's, Karl Shearer, the homophobic father of a gay son, and Andrew Willoughby, a detective opening the cold case file of Gary Truman's murder 15 years later. The screenplay (written by Oscar winner Matt Damon and Van Sant, who teamed up on Gerry in 2001) is a terrificly intriguing tale of desperation, regret, and obsession. With its three-part, three-genre storyline, it is true that is will be one film this year that you will indeed remember.

The first tale, of Gary Truman (played with a brilliantly subtle innocence by Neil Patrick Harris), chronicles his fall from grace, realization of his homosexuality, and mental deterioration after he loses everything and becomes just another street urchin. One scene that is truly memorable is one in which he finally comes to terms with the fact that he has hit rock bottom, living on a park bench in Centennial Park, he breaks down emotionally. Harris gives a truly heartbreaking performance as a symbol of society's own desperation, and final strive for survival, when none seems possible.

The second tale is of Karl Shearer (played with an extraordinarily morbid emotional state by Robin Williams) and his vision of failure as a father. He is disgraced to find out that his near perfect son, is actually, in fact, a homosexual, the thing he despises most about the world. He has a distinct, horrific tone to him, that makes you really frightened anytime he is in the room. His passionate rage that shows at times is really terrificly scary, and makes you question. What lengths will this man go to?

And the third tale revolves around Detective Andrew Willoughby (a surprisingly withheld turn from the usually fierce Matt Damon) and his quest to solve the cold case of the murder of our first character. The story turns into a mystery when he finds out the cop put on the case was Karl Shearer. Matt Damon is incredible as the is-he, isnt-he OCD detective, devoted to finding the answers that aren't there.

Van Sant really knocks one out of the park with his directing talents on this one. He has shown us he can do dark comedy(To Die For), hard drama(Good Will Hunting) and even murder mysteries(Paranoid Park), but this could possibly be the one that finally puts his name up there with the likes of Spielberg and Scorsese as one of America's greatest directors. The shots of the Parthenon in Centennial Park really show true art in film, which we don't see in many films nowadays. The film is near perfect, but it is not for everyone. Certain themes of the picture may be too intense for many viewers, but nonetheless, this is a terrific film, with an ending that you will never forget.

AWARDS CONSIDERATION:
Best Picture
Best Director - Gus Van Sant
Best Original Screenplay - Matt Damon and Gus Van Sant
Best Actor - Matt Damon
Best Supporting Actor - Neil Patrick Harris
Best Supporting Actor - Robin Williams

Author(s): Kraft (N/A)
99 Red Balloons

Directed by: Florian Henckel von Donnersmarck
Written by: Steven Zaillian
Adapted from the song by: Nena
Cinematography by: Janusz Kaminski
Score by: James Horner

Starring:
Sebastian Butz as Raimund Shuster
Ellen Page as Sally Crane
Bruce Willis as Frank Crane

Tagline:
"Love comes at the price of a red balloon."

Synopsis:

In Cold War era West Germany, Sally Morton has arrived in Bonnn. Her father, Frank Morton, is there on a diplomatic trip. In the hotel, Sally meets Raimund Shuster. It is the first time they have met, yet they are drawn together. He is working as a porter, and asks her to go walk with him. During the walk, he shows her the beauty of Bonn. They talk the day away, and when it is night, she asks to see more of the beauty of Germany.

It was the next day that they went on their trip. Frank has agreed to finance their excursion on a two-day excursion into inner Germany. On the first day, they traveled to a small town in Lower Saxony. While they were there, they were enchanted by the quaintness of the town. They stumbled into the old-fashioned toy store. While there, Raimund purchased a bag of red balloons for Sally.

As they sat on a hill overlooking the town, Raimund professed his love to Sally. She sat there and confessed her story. Her mother was dead after a fatal car crash, and she was still mourning the loss. Her father was growing more and more agressive as he tried to cope with the loss. She didn't want to go down the same path as him. After a moment of resounding silence, she told Raimund that she loved him too. Soon, it is night. They had to return to Bonn the next day, as she was leaving for America. At the break of dawn the next day, Raimund sets the balloons free. It was a spectacular sight, and Raimund woke Sally up to show her.

They returned to Bonn, taking in the sights on the way back. Raimund offered to let Sally stay in his house to try to get her to stay. She didn't answer. When they arrived, night has fallen, and Raimund put up his offer again. She accepted and he took her home. His house was less than average. Sally changed her mind about staying. Raimund was heartbroken. When Sally saw the look on his face, she instantly regretted it. Out of sympathy, she stayed with him for a bit longer. Eventually, they both ended up in the same bed, having made love. Then, they made a promise not to see each other ever again.

Sally returned to the hotel room to find that her father had still not returned. She turned on the TV to see the news. The headline story was a shocking one. The Soviets had attacked West Germany, bombing the border. Sally was shocked. She saw her father on TV. He was giving a news conference about retaliation. The look in his eyes seemed furious. Sally quickly packed up her things and left the hotel room.

Frank met her in the entrance to the hotel. Everyone was frantic, as they heard more news about the bombings. The Soviets demanded that the US reveal what their weapon was. Frank told Sally to come with him. They get into a limo, which wisks them away. In the limo, Sally says that she wants to stay. He claims that this is nonsense, that they are leaving. She persisted, and swayed her father's position. They changed their course to the government buildings.

Once there, Frank got the president on the line. He discussed the prospect of war with the Soviets. Finally, he came to a conclusion with the president. He announced to the world that the West would not fall. Soon after, the Air Force was deployed to attack. The war was on. Sally, seeing this as her chance, rushed over to Raimund's house.

Raimund had seen the news. He had abandoned his life since last night. His life was meaningless now that Sally was gone. He would decide to join the army and fight for his country. As he was leaving his house, he saw Sally coming. She tried to convince him not to enlist, but he wouldn't budge. He had his mind made up when she told him that she loved him. Hearing this, he paused, then resumed to leave.

Sally returned to her father. She now said that she wanted to leave. Frank said that that wasn't possible. They were in this for the long run now. Frank then told her the plan. They would use the army to concentrate the Soviet defenses in one place, then nuke them. Sally was furious. This wasn't the father she knew for all these years. He was against the nuclear bomb since WWII. She asked why he was doing this. Frank then broke down. Ever since his wife died, he has started drinking. The anger has slowly been building up inside him. He was more devastated by the loss of his wife more than Sally. His wife moderated his behaviour. Without her, he would grow out of control as an angry madman. He apologized to Sally. She accepted the apology, then left.

Sally then went to the Army station to find out where Raimund was going. He was going to be stationed in Frankfurt. She then told her father of her intentions. She caught her flight there alone and waited. The army had moved into Frankfurt. When Sally arrived, she looked for Raimund. She didn't find him. As the days passed, she was losing hope.

Raimund had turned back to Bonn. He had decided that he couldn't spend his days in the army, that he'd rather stay with Sally. He went to look for Sally in her hotel room. When he entered the room, he found a body hanging off a rope. It was Frank. He called the police right away.

Sally was still in Munich waiting for Raimund. In her hotel room, she turned on the TV. She saw pictures of a mushroom cloud. She then knew what was happening. She angrily phoned back to the hotel room. She was surprised to hear the voice answer the phone. It was Raimund. She started crying when he told her the news. He asked her where she was, and she told him that she was in Munich.

It was when he was in the plane that he saw it. The space that was once Munich was now occupied by a mushroom cloud. The Soviets had retaliated. The plane was rerouted to a different airport outside of Munich. As soon as he got off, he just stared into the distance. It was all too unreal for him.

It was only after the government allowed it that Raimund could enter the dust that was the city. While walking among the ruins, he came across a truly fantastical sight. It was a red balloon. It was caught in some gnarled metal. He untangled it, and started to cry. Everything that had happened to him these few weeks seemed too long ago. He remembered when he released the 99 red balloons. With a final thought out to Sally Crane, he let the balloon go.

What the press would say:

Following the success of "The Lives of Others", Florian Henckel von Donnersmarck directs another Cold War era film. "99 Red Balloons", based off the hit song by Nena, is a great example of the human aspect of the Cold War. The film has some of the most beautiful imagery in film. Academy Award nominated cinematographer Janusz Kaminski shot the film in both colour and black and white. In the beginning of the film, as Ellen Page's character Sally emerges from the airplane, the film is in colour. The colour itself is subtle and beautiful, but not overdone. Then, as the film progresses, the colour is slowly replaced by black and white images. Finally, in the most powerful moment of the movie, the colour red manifests itself as a single balloon. The adaption from song to film is also a feat that deserves to be rewarded too. Steven Zaillian, multiple award-winning screenwriter perfectly adapts the song to screen; captured its meaning. The acting in this movie is spot-on. The small cast includes Academy Award nominated Ellen Page, who shines as Sally Crane, German actor Sebastian Butz spot-on perfect as Raimund Shuster, and a surprisingly great appearance by Bruce Willis as the father, Frank Crane. Ellen Page's performance is Oscar-worthy as she plays Sally, who speaks a heavily accented German. Her character is still mourning over the loss of her mother, and she fills the hole in her heart with Raimund. Her highlight in the film is during the encounter with Raimund at his house. She is emotionally charged as she tries to convince him not to enlist. Sebastian Butz might find himself the winner of an Oscar for his character, Raimund Shuster. Raimund Shuster steals the show as a conflicted young man who has nothing to lose, until he meets Sally. She gives him meaning in life again. His most memorable part would be during the end of the movie. Although he doesn't have any lines at the end, his character is brimming with emotion. He gets the idea across that he is grieving. When he sees the red balloon, all your attention is drawn to his face, so awestruck, you might think it would burst. Lastly, Bruce Willis has an unfamiliar role as Frank Crane. He is strong throughout the movie, leading his nation, when, in reality, he is still emotionally damaged by the loss of his wife. All this culminates into one scene, when he confesses to his daughter how scarred he is by his wife's death. Willis might get a supporting actor nod for this role. This film, is driven by its performances, but is also a compelling romantic epic. One of the best films of the year, it gets 4*.

For your consideration:

Best Picture
Best Actress - Ellen Page
Best Actor - Sebastian Butz
Best Supporting Actor - Bruce Willis
Best Director - Florian Henckel von Donnersmarck
Best Adapted Screenplay

Author(s): Tony (PA)
Engels des Todes

Directed by Oliver Hirschbiegel
Written and Produced by Bernd Eichinger

Principal Cast:

Sergi Lopez as Josef Mengele
Carice von Houten as Dalya
Ayelet Zurer as Ella Lingens
Jürgen Prochnow as Otmar Freiherr von Verschuer
Udo Kier as SS Gustaf Amery
Daniel Brühl as SS Hans Konig

Tagline: "For the living and the dead, we must bear witness"

Synopsis: He leans over his bed to polish his boots. Impeccably dressed as always; his uniform freshly laundered and his hair well groomed. The sounds of his footsteps can be heard from miles inside Block 10. His shadow sparks fear into the minds of thousands of men, women, and children at the Auschwitz concentration camp. His continual whistling inspires fear in his fellow soldiers. Our viewing point focuses on his every movement as he walks to his death factory; every sound is devestating. The gravel he walks on, his arm motions as he walks. He opens the door, hundreds of children stare down at the floor, but his presence is felt immensely. He doesn't blink, no sudden movements, everything is calculated. He was granted the amount of children he needed, and begins to draw a 5'2 line on the wall. There are two groups, one for children taller than the line and the other for shorter. Under they are taken in the next room as the over are escorted out. He prepares the gas chamber.

He serves as lieutenant behind Soviet lines and provides medical care to the wounded. Their safety, a guardian; their dependability that gives them the hope. A brilliant physician with a medical degree and Ph.D in anthropology. He holds his fellow soldiers in his arms and carries them to their distant futures. Wounded in battle now. He becomes stationed at Berlin where he meets with his mentor, Professor von Verschuer. Verschuer, a public supporter of Hitler and interested in the mysteries of genetics. His next mission, to serve as the SS captain at Auschwitz. His goal, eliminate and go deep in the depths of human genetics.

Ella Lingens arrived at Auschwitz shortly after on the train. There he was, scarcely a hair out of place, dark green tunic neatly pressed, his thumb resting on his pistol belt on the ramp. He orders the weak to the left to die, and the people that could work to the right. Next to him is his henchmen, Gustaf and Hans Koning. Every morning was the same; he enjoys every moment. Ella is ordered to become his assistant, where she witnesses his ghastly experiments. Her first night, a set of twins, both having castrations without anesthesia, only seen through the peep hole. As his assistant, Lingens begins to establish a relationship over the long trial. He's interested in art, music, and is very knowledgable. While she knows she could never see past his nightmaric crimes, he could never see past her race.

Dalya arrives. Her child is taken away by him. He calms them both down, giving her child chocolates as he comforts her with his tender touch. He tells the girl to get a shower. She does so, and Dalya never sees her again. The children call him Uncle and the women are manipulated by his looks. He brings clothes to their bunks, but hardly speaks. This was her hell and his heaven and we witness his routine through her eyes as she becomes his nuisance. She is assigned to work at an armaments factory. During an operation, the sewing together of two Gypsy children to create Siamese twins, it was interrupted with her 5th attempt to escape. He walks outside and grabs her by the neck, beating her to a bloody pulp; her eyes covered in layers of blood and her nose becomes flattened. He whistles onto the hospital and washes his hands.

What was once his palace has turned into a ticking time bomb. Everyone seems suspicious; for the first time he worries. Prisoners are starting to rebel and become more careless. Out of desperation, he searches for comfort other then his work. Ella holds him, is it out of fright or affection? Loud explosions are heard now; the crematorium and one gas chamber is in flames as Amery and Konig lie faceless in the dirt. Dalya leads this revolt by smuggling explosives from the factory. Along with others, she's hanged in public for her actions. Worse news, he's given orders from Himmler to disable all gas chambers; something's wrong. He knows the months of playing God are coming to an end; what he must give up and what is to become of Auschwitz very soon as sadness fills his heart. He escapes without notice, in disguise, never to be seen again at Auschwitz.

On his way out, he remembers how it began. His second night there, a lice infestation has been reported in one block. Of 1,000 people, all of them were ordered to be liquidated by him. As he looks into their eyes as they walk towards their death, his medals shining, his expression blank; he whispers continuously "I am the power."

What the press would say:

"Engel des Todes" is the latest foreign achievement from established director Oliver Hirschbiegel. What we have with a film like this is a long stare into an abyss from which no comforting answers can emerge. Hirschbiegel's approach is to recreate historical circumstance and give his audience the feeling of understanding the midst of it. Josef Mengele has been often known as the real horror of the Holocaust and rarely do we hear his mention in films. Rightfully so; Mengele was responsible for the deaths of thousands of Gypsies, Jews, Slavs, homosexuals, most of which were tortured due to his brutal examinations in the most unimaginable fashion. As a matter of fact, there isn't a single moment in the film that mentions his name. With a character on screen of this magnitude, it's not necessary. Watching a film like this, we must leave all our morales out the room. In order to get a better understanding of this horrific character study, we must imagine what this man feels. A psychological study of a man that doesn't believe what he's doing is wrong, genuinely doesn't believe it. To us, his madness generates into doing it for science, to him. At the very start of the film, we're introduced to that sense of ruthlessness and abuse of power. Our very next scene, a humanistic look of Mengele, a generous side, bringing the injured to health, before the days of Auschwitz. It wraps up with his escape out of Auschwitz before it comes liberated by the Soviet Union. Our lead appears to have human feelings, but not in the same way we do. Note, this film holds some of the most disturbing images we've seen in a very long time. However, never blind, nor without purpose. What Hirschbiegel does is let the viewers see what we want to see, but never drags it out. Key angle shots limit most of the violence, yet the screams of agony tell us the story itself.

To take the role of Mengele is the always versatile Sergi Lopez. Never has a character spoken to us more without the use of his dialogue. Already fluent in four languages, Lopez journeys deep into the character with an effective accent and calm, cynical words. Although his dialogue is limited, when he speaks we listen intently. Often times it's not the experiment scenes that frighten us; its Sergi's ability to turn this evil without conscience and humanize it with the use of his charm and charisma to woe those around him. On the other note, it's his scenes where he surveys his prey with his dead, gimlet eyes. His constant whistling and built in happiness living in a world that most of us would never dream to go, is how he makes the character what he is. He gives us that distinct notion that the character IS Auschwitz. He feeds off its energy; the cries in the distance, the constant yells of anguish and hopelessness. He makes Auschwitz a state of mind, when in reality he's the real horror. Once Auschwitz begins to break down, so does Lopez; it's an interesting process throughout the film where we notice how the setting and character speak volumes in comparison. Near the end he begins to feel like his tortured victims, defeated, broken down. Leaving Auschwitz may not cause sadness to us but to Mengele, it's his tragic, unnatural somber ending, and that's what we must take note of. In the final scene, we're taking back to a time of happiness and comfort, in the mind of Josef Mengele; a vastly different approach than the average Hollywood ending where we must understand this character to thoroughly appreciate the ending. Not only has this performance overshadowed anything Lopez has done, but it'll go down as one of the greatest, villainous leads of our generation. Riveting and unforgettable; from power stricken to desperation, love to hate, emotionless to lash. Two supporting actresses are highly noted in this piece, both of which provide an analysis and their positions at Auschwitz, more importantly how they see our lead monster through their eyes. First is Carice von Houten as the beaten down, yet often determine POW, Dayla. The character of Dayla represents the evil she sees in him. She fights and claws and scratches to free herself from this monster, and what is her ultimate punishment? He keeps her alive. Together the two build an intense rivalry that's sure to crave attention from its viewers; their expressions say many words and they hardly speak to each other. Houten does an outstanding job of looking more distraught each scene. Her once beautiful features turn into a rotten, dirty, discomforting display. Her big moment is when she's first on screen and her child is taken away. The acting is in way, gruesomely realistic; it's as if she studied the role of a woman POW by being there herself. On the other side is Ella, played by Ayelet Zurer. Ella witnesses the tragedies from a different view. Most likely, it's the most interesting role as far as her relationship with Mengele. We see in her eyes that she's deeply disturbed by this man, and it pains her to speak one word to him. However, she's misguided in time when the two begin to develop a subtle relationship. Zurer is our gateway to seeing the other side of Mengele, when the two have deep conversation, but she can never look past the idea that this man could kill her at any given time. What Ayelet does best is reveal her fear, but painfully reveals interest in her officer. Never once does she blink while in his presence, and never once does she back down from him.

"Engel des Todes" stands for angel of death, the nicknamed given to Mengele at Auschwitz, and often times he is referred to as this by other characters. From injecting bleach into the eyes of children to determine if eye color changes, injecting chloroform into the hearts of hundreds and noting every detail about the autopsy, to giving high-voltage electric shocks to women to test endurance; these are strong images that ponder the question, why does a film like this need to be seen? The answer, because moments like this in history is often ignored due to the graphic content and overwhelming character study and the fact that people don't want to believe it. Not to many films of this nature are written so sharp, to a point where the atmosphere feels more authentic than routine. We smell the fear of the prisoners, feel the shivering of the petrified SS officers. Each important character dominates the screen and leaves us speechless for the next. The fact that we feel sympathy for this character, in the sense that we feel sympathy for a rabid dog, while accepting the fact there is nothing but evil in his eyes. Each scene shot with nerve-shredding realism. If people are willing to accept stories like these and develop meaning into these characters, we can learn more from films like this. While it's unsettling and leaves for a melodramatic and bitter aftertaste, we feel sadness and know what each character has gone through. People often visit the Holocaust museum for that silence in the air, to feel the cold and cynical souls in their midst. "Engel des Todes" mimics that feeling with its claustrophobic, unflinching glimpse into the outer workings of a man that they never justify his actions, but rather inform us that some people were born with this frame of mind.

FYC:
Best Picture
Best Director - Oliver Hirschbiegel
Best Actor - Sergi Lopez
Best Supporting Actress - Carice von Houten
Best Supporting Actress - Ayelet Zurer
Best Original Screenplay

Author(s): Tony (PA)
The Funeral Portrait

Written and Directed by Todd Solondz
Produced by Albert Berger
Music by Dean Wareham and Britta Phillips

Principal Cast:

Carly Schroeder as Lydia Milton
William H. Macy as Robin Buss
Patrick Fugit as Campbell Buss
Lorraine Bracco as Madeleine Buss
Halley Feiffer as Helen Peterson

Tagline: "Sometimes, grieving can bring out the worst in us"

Synopsis: Kids these days, what they'll do for love. It was three months ago when Lydia Milton broke up with Frank Buss. High school sweethearts for years; she thought the relationship was flat and coming to an end. How painful was the break-up? Don't ask Frank; he's dead, gunshot to the head. The neighbors always leaving their gun case unlocked, republicans. Lydia naturally blames herself. It's time for the funeral, closed casket. Lydia meets with Franks family. His father, Robin Buss, specializes in child psychology. He's married to Madeleine, an obnoxious house wife that always demands more from Robin. Campbell's only complaint about the death was getting up at 5 a.m. for his brothers funeral. Campbell is jobless, doesn't attend college; he's always negative, but spoiled to the core. He never did like his little brother, always envious of his intelligence and charm; he always had a thing for Lydia as well. Robin looks awful, who wouldn't at their sons funeral. It's bad enough life at home is a constant migraine. Lydia always liked Mr. Buss; she hugs him as he feels her warmth; he doesn't feel this with Madeleine. Campbell hides in the back corner; Lydia sure looks fabulous in that tight black dress. He searches for the bathroom.

Lydia begins to treat the Buss residence as her own. She sees a lot of Frank in his father; that makes her feel good. Campbell truly thinks she visits for him, not the case. The only people that come to visit Campbell are his mod playing fat friends that want to play poker all the time; he hates poker and pretty much hates them. Over time, Lydia and Robin develop a friendship that's about to exceed expectations. Robin confesses his love to her and she accepts him; no one will know. Where they get intimate, his office. Afterwards they hold and talk about running away together. Lydia doesn't tell anyone, not even her best friend Helen. Robin feels more added pressure as Madeleine and her soap watching friends ridicule him for being uncompassionate towards his sons death, believing he's coped too fast. It's not until Campbell visits his father at work to borrow money. Behind the door he hears the sounds of intimacy. He loses all train of thought; he never once wanted to admit his parents weren't doing well. Now, he believes someone has sabotaged his father. To relieve his aggression, he finds a bathroom and gets out Lydias school picture from his wallet.

Helen knows Lydia all too well. Best friends since childhood, she knows when Lydia glows because of love. She bickers her about it, she reveals nothing. Lydia begins to notice Campbell is feeling more down than usual. She takes him out to lunch to cheer him up; he believes this is her way of showing she loves him. He believes it enough to openly admit she's the only girl he can get off to. She walks away in resentment. Out of revenge, he spikes Helens drink at a party, and fulfills his violent, sexual tendencies. He calls Lydia and tells her about it, describing every detail and how much he enjoyed it. She realizes she must put an end to this all. She tells Madeleine everything, thus leading to a divorce and six years in prison for Robin. Now, Robin is left with nothing; his wife is gone; his love has betrayed him. Helen never reports Campbell out of shame as he now lives with his mom. Lydia and family moves across the country to escape it all.

Robin's sentence is finally up. Campbell finally gets his father back, he's been waiting six years for this. Robin grips onto Campbells neck and suffocates him to the floor, blaming him for how it came to be this way due to his actions. He's been waiting six years for this.

What the press would say:

"The Funeral Portrait" is the latest film from hard hitting director Todd Solondz. This depraved, dark comedy is simply meant to antagonize the characters, but ultimately helps us see them more clearly, to feel sorry for them, and at the same time to see how close tragedy and farce come together. The film begins at the funeral of a young man who has committed suicide. Note that with Solondz, he has that sharp writing and assured direction to make even the sickest, darkest moments have some kind of humor in it. While it's not slapstick, it remains painfully sincere. At this funeral we're introduced to the three most important characters; Lydia, Robin, and Campbell. In this particular scene, we get a good representation of what each character is all about, and eventually it will build on as the film progresses. At the end of the scene, Campbell goes to relief himself in the bathroom at his brothers funeral. Not only do we sense some sexual dysfunction, but it's a prime example of that morbid humor Solondz throws out there. The subject matter is rough to get used to at first, but it does grab ahold of us. In most scenes, Solondz goes for the laugh but he pushes the button as far as he wants it to go with a certain character and then return to the intensely, grim, pyschological mood of the story. The opening funeral scene sets the film up for a poignant, unflinching, and engrossing experience.

The young and ultra talented Carly Schroeder plays the experimental Lydia. While many would think Lydia is the most pure and innocent character of the bunch, some believe it's not the case. Obviously she's intelligent for her age. We can judge this by her conversation with the Buss family. Like most people, they search for love and happiness after a close friend dies. It's a complex character that doesn't hide her affections. Throughout most of the film, Schroeder treats her relationship with Robin as if it were a high school sweetheart. It's ultimately sad and we want to feel for her, but it's difficult. Near the end she provides some of the best immense, damaging breakdown we've seen from a young actress. Why does she cry? Does she regret her actions? Or is she traumatized by the fact that she does love this man and it's over? These are many questions that sprint through our minds while watching this film. William H. Macy takes a brave role and gives a haunting, ironically comical performance as Robin Buss. Macy mixes it all; the hallmark of a 'normal guy' to misguided criminal. What Macy does best is he never monsterises the character; he keeps it equilibrated and riveting. The scenes where his wife dishes him out is nothing but comic gold. The way Macy reacts to each insult brings out that natural laughter and is some of the few moments we get that pure sense of comedy. Patrick Fugit, star of "Almost Famous" gives a heavy, harsh performance as Campbell Buss. There's no doubt the role of Campbell packs the most punch of any. His shocking lines and absurdist attitude, along with built in aggression make this character a firecracker ready to spark. He's a freeloader and waste of space. One thing to take note of is the evident happiness Campbell has for his father. They have a fantastic father/son relationship and it creates a somewhat enlightening mood, very rare in this film. He'd be referred to as a negative Nancy with his wise cracks and wrongful choice of words. The character takes a nose dive at a particular scene where he simply can't take anymore. He results to a haines act that eventually makes the entire plot shift. It leads to every single act following it and changes our characters, leading to the final scene. Fugit makes us feel the character suffering; a fantastic supporting role in this unsoothing film.

It's hard to summarize what we can learn from a film like "The Funeral Portrait". All we can do is recommend seeing the film more than once, of course adults only. With the help from Dean Wareham and Britta Phillips, our traditional conversation scenes have a somber mood set with its pseudo canned music. Each characters line delivery is written with harsh intentions and it never ceases to amaze us. It ends with a overly shocking scene full of anger, irony, and sadness. Some may argue the scene is taken overboard; they're right. There are scenes that precariously verge on going over-the-top, but there's enough truth and realism that's retained to make the viewer cringe in recognition, gasp in discovery, falter in horror, and laugh in sympathy at the deformed, yet all-too-human behavior the film shows. It's not filled with meaningless violence, explosions, or sex without thought. Solondz never judges his characters and almost sees them with sad bemusement and sympathy, making it one of the most authentic films of the year.

FYC:

Best Picture
Best Director - Todd Solondz
Best Actress - Carly Schroeder
Best Supporting Actor - William H. Macy
Best Supporting Actor - Patrick Fugit
Best Original Screenplay - Todd Solondz