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MOVIES

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Beautiful Mind

Coach Carter

Erin Brockovich

Gandhi

[the] Killing fields

Patch Adams

Pursuit of Happyness

Radio

Remember the Titans

Rudy

Fiction

Amelie Life as a house

Billy Elliot Life is beautiful

Dead poets society [les] Misérables

Empire of the sun Pay it Forward

Finding Forrester [the] Shawshank Redemption

Forrest Gump

Fried green tomatoes

Good will hunting

[the] Green mile

It’s a wonderful life

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Based On A True Story

Though his early work as a student offered a breakthrough that eventually won him the 1994 Nobel Prize, Nash goes off the deep end in later life.The film works better in the early paranoid stretches--which include a wonderful 1950s spy movie parody as Nash is sucked into an imagined world of fighting commie atom spies--than it does with the inspirational ending, where Nash’s handicaps are overcome so he can triumph at the end. Crowe's genuinely fine work still seems a bit Shine/Rain Man/Forrest Gump-ish in mannerism, yet experience shows this can be a powerful career move. Crowe gains sterling support from Jennifer Connelly, Ed Harris, Paul Bettany and Christopher Plummer--some playing a mere character in Nash’s world.

Director Ron Howard delivers his finest effort with his extraordinary film, A BEAUTIFUL MIND, which won the Academy Award for Best Picture in 2001. Based loosely on Sylvia Nasar's acclaimed biography of mathematician John Forbes Nash, the film is a compelling look at one man's genius, his debilitating mental illness, and the fine line between the two. A BEAUTIFUL MIND begins with Nash (Russell Crowe) at Princeton, where he struggles to think of an original idea, and the stroke of genius that will make him matter. Nash is eccentric, socially awkward, and extremely competitive. Eventually, he finds the inspiration for his innovative and influential work on game theory. He's chosen for a post at MIT, which includes crucial code-breaking work for the US government. There, he meets a beautiful and brilliant student, Alicia (Jennifer Connelly). They marry but their happiness is threatened, as Nash, belatedly diagnosed as schizophrenic, descends into madness. Screenwriter Akiva Goldsman cannily condenses Nash's story, and the film manages to dramatize both Nash's mathematical brilliance and his schizophrenia in a compellingly visual manner. Crowe delivers a strong performance, and has real chemistry with Connelly. The two make the film's story about the power of love believable and moving.

In the tradition of LEAN ON ME and DANGEROUS MINDS comes COACH CARTER, an inspirational drama starring Samuel L. Jackson. Jackson portrays real-life figure Ken Carter, who graduated from California's Richmond High only to return there year later, in 1999, and take over as head coach of the boys' basketball team. Unfortunately, the troubled school he remembered as a teenager is an even more insufferable place in his adulthood. Determined to make a change in his players' lives, Carter makes each young man sign a contract that ensures he will maintain a 2.3 GPA, attend every class, and wear a jacket and tie on game day. Of course, the players reject the contract at first, but when they realize that they don't have any other choice, they give in. And when it appears that their tough-as-nails coach is actually turning them into winners on the court, they embrace their coach's philosophy even further. But when Coach Carter receives the incomprehensibly awful progress reports of his players, he does the unthinkable: he benches the entire team. Directed by Thomas Carter (SAVE THE LAST DANCE), COACH CARTER is a sensitive drama that features an impassioned performance by Jackson, as well as the impressive young cast (most notably Rob Brown, Rick Gonzalez, and Robert Ri'Chard).

A lone woman, armed only with indomitable sass and her native wit, goes up against the corporate big boys and beats the bejesus out of them. As a story line it's hardly new, but Steven Soderbergh's film keeps it exhilaratingly fresh and lively--thanks not least to his lead actress. Seizing the role of the smart, mouthy, aggressively working-class Erin Brockovich with both hands, Julia Roberts gives it everything she's got and then some. She's well matched by Albert Finney as her grouchy but good-hearted boss and Aaron Eckhart as a sympathetic biker. The story's based--by all accounts fairly closely--on actual events, when the real Erin (who appears briefly in the film as a kindly waitress) brought a massive lawsuit against utilities giant Pacific Gas and Electric for spreading toxic pollution. Rather than confine the action to courtroom shenanigans, Soderbergh takes us out under Southern California's pitiless skies and along the dirt-poor roads where most of PG&E's blue-collar victims live, letting us feel the ground-down exhaustion of their lives. But though it's rooted in reality, the film's anything but solemn. The script's sharp and funny, full of unexpected twists; and Roberts, flaunting herself outrageously in an eye-popping array of push-up bras and micro-miniskirts, has never been better.

Sir Richard Attenborough's 1982 multiple-Oscar winner (including Best Picture, Best Director and Best Actor for Ben Kingsley) is an engrossing, reverential look at the life of Mohandas K. Gandhi, who introduced the doctrine of nonviolent resistance to the colonized people of India and who ultimately gained the nation its independence. Kingsley is magnificent as Gandhi as he changes over the course of the three-hour film from an insignificant lawyer to an international leader and symbol. Strong on history (the historic division between India and Pakistan, still a huge problem today, can be seen in its formative stages here) as well as character and ideas. This is a fine film.

Richard Attenborough’s triumphant, award-winning epic of the life of Mahatma Gandhi celebrates its 25th anniversary and returns in a spectacular double disc, Special Edition DVD. Digitally remastered and boasting over 5 hours of extra features, Gandhi Special Edition comes collector’s cards. This epic biopic with stunning cinematography, direction and acting performances traces Gandhi’s rise from lawyer to India's spiritual leader through his philosophy of non-violent but direct-action protest. With an all-star cast featuring Ben Kingsley, John Gielgud, John Mills, Martin Sheen, Candice Bergen, Edward Fox, Geraldine James, Saeed Jaffrey and Roshan Seth, Gandhi won a stunning eight Academy Awards and four BAFTAs.

Roland Joffe's unflinching drama recounts the true story of New York Times journalist Sidney Schanberg (Sam Waterston) and Cambodian journalist and translator Dith Pran (Haing S. Ngor), who found themselves trapped in the nightmare of the Khmer Rouge revolution in Cambodia. While stationed in Phnom Penh in the early 1970s, Schanberg and Pran become close friends and confidants, negotiating and writing many groundbreaking stories. When the ruling Lon Nol government is overthrown by the Khmer Rouge, the country is turned upside down--killing is common in the streets, and children become gun-toting informants. Schanberg is forced to flee the country, with his fellow American photographer Al Rockoff (John Malkovich) and British journalist Jon Swain (Julian Sands). Despite their exhaustive efforts to free Pran, they have no choice but to leave him behind. Pran is forced to endure excruciating agony at the Pol Pot death camps, where any shred of individuality or dissent is beaten out of the prisoners. After years of brutal torture, Pran manages to escape and begins a long odyssey to Thailand and the border refugee camps. As Pran struggles to stay alive, Schanberg endures life in New York wracked with guilt over the loss of his good friend, desperately attempting to locate him. This haunting drama is epic in its portrayal of a war-torn country devastated by mass genocide. Images of both great horror and beauty resonate with awesome power and honesty. Joffe's first film features superb performances from a first-rate ensemble of actors, including Waterston, Sands, Malkovich, and Ngor in an Oscar-winning. role.

Patch Adams raises two schools of thought: there are those who are inspired by the true story of a troubled man who finds happiness in helping others--a man set on changing the world and who may well accomplish the task. And then there are those who feel manipulated by this feel-good story, who want to smack the young medical student every time he begins his silly antics. Staving off suicidal thoughts, Hunter Adams commits himself into a psychiatric ward, where he not only garners the nickname "Patch" but learns the joy in helping others. To this end, he decides to go to medical school, where he clashes with the staid conventions of the establishment as he attempts to inject humour and humanity into his treatment of the patients ("We need to start treating the patient as well as the disease", he declares throughout the film). Robin Williams, in the title role, is as charming as ever, although someone should tell him to broaden his range--the ever-cheerful, do-gooder à la Good Will Hunting and Dead Poets Society is getting a little old. His sidekick Truman (Daniel London) steals the show with his gawky allure and eyebrows that threaten to overtake his lean face--he seems more real, which is odd considering that Patch Adams does exist and this film is based on his life. Monica Potter is the coolly reluctant love interest and she makes the most of her one-dimensional part. While moments of true heartfelt emotion do come through, the major flaw of this film is that the good guys are just so gosh-darn good and the bad ones are just big meanies with no character development. Patch Adams, though, does provide the tears, the giggles and the kooky folks who will keep you smiling at the end.

A heartwarming film that demonstrates how good, hard-working people can become homeless almost overnight, Pursuit of Happyness is a tour-de-force showcase for Will Smith, who convincingly portrays a down-and-out dad trying to better his family's life. Smith, who usually is cast in effortlessly boyish roles (Men in Black, Independence Day), is wonderful in the film--even in the scenes that shamelessly tug at viewers' heartstrings. Based on the true-life story of Chris Gardner, a San Francisco salesman forced at times to shelter his young son (played by Smith's adorable look-alike offspring Jaden Smith) in a men's room, there is little suspense to the film in terms of Chris' outcome. (His story and eventual success a successful and wealthy Chicago businessman was well-publicized on the newsmagazine show 20/20.) And let's face it, Hollywood's not too keen on making feel-good movies with unhappy endings. The beauty (and suspense, to a certain extent) of this film is in the way the story is told. Though he is constantly rushing around to get to appointments and pick up his child, things do not happen quickly for Chris. When he accepts an internship with a prestigious stock brokerage firm, there's a catch: The position is unpaid, suitable more for trust-fund children than single parents with no other source of income. In many scenes, the viewer panics along with Chris, wondering how he's going to feed his child. While Smith and his son, Jaden, share many tender moments together, Thandie Newton has the thankless role of playing Chris' shrill wife, who deserts her family early in the film. It's not a particularly challenging part for the talented actress, and her departure doesn't impact the storyline much at all. As for the movie's misspelled title, it's inspired from a scene in the film. (Seeing a mural drawn by the children at a daycare center, Chris points out to the proprietor that "happiness" is spelled incorrectly. She notes that it doesn't matter how the word is written--just that the kids have it.) With Pursuit of Happyness, Smith has come out of his safety zone and, in turn, ends up playing his most heroic role to date.
Will Smith is a father struggling to take care of his young son in this touching tale based on a true story. In San Francisco circa 1981, Chris Gardner's (Smith) luck has run out. A bad business investment, a bevy of parking tickets, and back taxes in addition to rent, childcare, and groceries keep him constantly scrambling for cash. Chris thinks his luck is changing when he is accepted into a highly competitive internship program at a brokerage firm. But the internship is unpaid and soon, despite his best efforts, Chris and his five-year old son, Christopher (Jaden Christopher Syre Smith--Will Smith's real life son), find themselves homeless. Chris might spend his days training to invest and make millions, but he and Christopher spend their nights in shelters and public transportation stations. Gardner's story is a testament not only to the love between a father and son, but also to the strength of the human spirit. Will Smith turns in a fine, nuanced performance as a man determined to protect his son and make a life for himself and his family. Jaden Smith is an adorable scene-stealer as young Christopher. The real-life father and son pairing translates well onto the big screen; the two have terrific natural chemistry. Their affection for each other is apparent, even as they weather the tough times. This is Italian director Gabriele Muccino's (THE LAST KISS, REMEMBER ME MY LOVE) first film in the English language. Thandie Newton also stars as Christopher's overworked and defeated mother in this tearjerker which was inspired by a segment on the television news program 20/20.

Set in South Carolina and spanning almost 40 years time beginning in the 1960s, RADIO is the moving story of the friendship between a mentally disabled man (played by Cuba Gooding Jr. in adulthood) and the high school football coach (Ed Harris) who gives him guidance, hope, and confidence. Growing up in the all-American small town of Anderson, South Carolina "Radio" is a social outcast who lives a lonely, childish existence. He's obsessed with his transistor radio and wanders the streets with a shopping cart full of collected junk. Because of his mental disability, Radio is misunderstood by the local townsfolk and is often the victim of mean-spirited pranks. After the local high school football team plays a particularly cruel prank on the naive young man, the team coach decides to mentor Radio. Coach Jones staunchly supports Radio and their bond becomes unbreakable. A devoted football fan, Radio blossoms under the unwavering encouragement of the Coach and becomes the team's unofficial mascot and cheerleader. Ultimately the town is united by Radio's innocence and basic human goodness in this warmhearted drama inspired by a true story.

Boaz Yakin's Remember the Titans boasts only one major star (Denzel Washington), but it does have an appealing cast of fresh unknowns and a winning emphasis on substance over self-indulgent style. Set in Alexandria, Virginia in 1971, the fact-based story begins with the integration of black and white students at T C Williams High School. The effort to improve race relations is most keenly felt on the school's football team, the Titans, and bigoted tempers flare when a black head coach (Washington) is appointed and his victorious predecessor (Will Patton) reluctantly stays on as his assistant. It's affirmative action at its most volatile, complicated by the mandate that the coach will be fired if he loses a single game in the Titans' 13-game season. The players represent a hotbed of racial tension, but as the team struggle towards unity and gridiron glory, Remember the Titans builds on several subplots and character dynamics to become an inspirational drama of Rocky-like proportions.

A true story about Rudy Ruettiger. A young kid who only ever wanted to play American football for Notre Dame, the college team his father has followed all his life. Rudy doesn't take no for an answer and will do anything to be a part of the team (Even cleaning their football helmets) his sheer will, determination and undying love for the team mean this young kid gets battered and bruised by the largest of players whilst practising with the team in the hope that just once, he might actually step out onto the turf wearing the famous Notre Dame colours.

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Fiction

With its use of special effects to express the main character's internal emotions, Jean-Pierre Jeunet's Amelie could have been mistaken for a French version of Ally McBeal; however, unlike Ally--"woe is me for I cannot find a man"--McBeal, Amelie is not distressed by the lack of men in her life, in fact the whole idea of sex seems to amuse her no end. Basic pleasures such as cracking the top of a Crème Brule offer her all the sensual satisfaction she needs and her existence in the "Paris of Dreams" is the stuff of fairy tales. Indeed, this cinematic treat must have worked wonders for the Paris tourist board: Jeunet's beautiful interpretation of Parisian life is depicted in all the vibrant colours you would expect from the director of Delicatessen.

The film's basic message--that hate is learned and can be unlearned--is expressed through Derek's kid brother, Danny (Edward Furlong), whose sibling hero-worship increases after Derek is imprisoned (or, in Danny's mind, martyred) for the killing of two black men. Lacking Derek's gift of rebel rhetoric, Danny is easily swayed into the violent, hateful lifestyle that Derek disowns during his thoughtful time in prison. Once released, Derek struggles to save his brother from a violent fate, and American History X partially suffers from a mix of intense emotions, awkward sentiment and predictably inevitable plotting. And yet British director Tony Kaye (who would later protest against Norton's creative intervention during post-production) manages to juggle these qualities--and a compelling clash of visual styles--to considerable effect. No matter how strained their collaboration may have been, both Kaye and Norton can be proud to have created a film that addresses the issue of racism with dramatically forceful impact.

It's just a greasy spoon diner and a rusty gas pump in the middle of the Mojave Desert, but to a mysterious, stranded Bavarian woman (Marianne Sagebrecht) and a few mismatched regulars, the Bagdad Cafe becomes a magical piece of paradise.

Foursquare in the gritty-but-hearwarming tradition of Brassed Off and The Full Monty comes Billy Elliot, the first film of noted British theatrical director Stephen Daldry. The setting is County Durham in 1984, and things 'oop North are even grimmer than usual: the miners' strike is in full rancorous swing and 11-year-old Billy's dad and older brother, miners both, are staunch on the picket lines. Billy's got problems of his own. His dad's scraped together the fees to send him to boxing lessons, but Billy's discovered a different aptitude: a genius for ballet dancing. Since admitting to such an activity is tantamount, in this fiercely macho culture, to holding up a sign reading "I AM A RAVING POOF", Billy keeps it quiet. But his teacher, Mrs Wilkinson (Julie Walters, wearily undaunted) thinks he should audition for ballet school in London. Family ructions are inevitable.

"You measure yourself by the people who measure themselves by you," says the quietly wise Carter Chambers, played with gravitas and grace by a Morgan Freeman. In Rob Reiner's moving, often hilarious film The Bucket List, all sorts of people measure themselves against the two heroes, Chambers and his hospital suitemate, Edward Cole (Jack Nicholson). But as Cole finds, having spent his entire life building a Fortune 500 company, none of that much matters when cancer, the great equalizer, pays a visit. The film traces the adventures of the two unlikely friends, who meet in a hospital cancer ward, each given six months to live. The "bucket list" of the title refers to a lifelong list of goals that a teacher of Chambers once advised him to compile--and achieve--"before you kick the bucket." Soon the two are off on what may be the last grand adventure of their life, vowing to tick off as many goals (skydiving, race-car driving, seeing the wonders of the world) as they can in the time they have left. What starts as a medical melodrama becomes a road trip, yet the men's mortality realities are never far from thought. The two leads give impressive performances, and remind the viewer of just how few American films focus on the lives and loves of senior citizens. Nicholson even manages to lose his persona in his character, much as he did in About Schmidt. There's a lovely John Mayer tune, "Say (What You Need to Say)," that's perfectly matched to the film's clear-eyed view of life: What does one person leave behind as his true legacy?

Chocolat is an enchanting, moving and heart-warming tale of love and temptation, a big-budget movie with its roots in European art house cinema. Magical and almost fairytale-like in theme, it's the story of the mysterious Vianne and her arrival in a quiet, old-fashioned French town at the end of the 1950s. Gradually her attitude to life and the delicacies that she prepares in her chocolate shop have a marked effect on the local people, bound as they are by the twin forces of religion and politics.

Some critics complained that City of Angels could never compare to Wim Wenders's exquisite German film Wings of Desire, which served as the later film's primary inspiration. The better argument to make is that any such comparisons are beside the point, because Wings of Desire was a much more deeply poetic, artfully contemplative film, whereas City of Angels is an enchanting product of mainstream Hollywood. Meg Ryan stars as Dr. Maggie Rice, a heart surgeon who is grieving over a lost patient when an angel named Seth (Nicolas Cage) appears to comfort her. She can see him despite the "rule" that angels are invisible, and Seth's love for Maggie forces him to choose between angelic immortality and a normal human existence on earth with her. Featuring heavenly roles for TV veterans Andre Braugher and Dennis Franz, the film liberally borrows imagery from Wings of Desire, but it also creates its own charming identity. Cage and Ryan give fine performances as lovers convinced they are soul mates, and although the plot relies on a last-minute twist that doesn't quite work, this earnest love story struck a chord with audiences and proved to be one of the surprise hits of 1998.

Robin Williams stars as an English teacher who doesn't fit into the conservative prep school where he teaches but his charisma and love of poetry inspires several boys to revive a secret society with a bohemian bent. The script is well-meaning but a little trite, though director Peter Weir (The Truman Show) adds layers of emotional depth in scenes of conflict between the kids and adults. (A subplot involving one father's terrible pressure on his son--played by Robert Sean Leonard--to drop his interest in the theatre reaches heartbreaking proportions). Williams is given plenty of latitude to work in his brand of improvisational humour, though it is all well-woven into his character's style of instruction.

Matt Damon stars as Will Hunting, a closet maths genius who ignores his gift in favour of nightly boozing and fighting with South Boston buddies (co-writer Ben Affleck among them). While working as a university janitor, he solves an impossible calculus problem scribbled on a hallway blackboard and reluctantly becomes the prodigy of an arrogant MIT professor (Stellan Skarsgård). Damon only avoids prison by agreeing to see psychiatrists, all of whom he mocks or psychologically destroys until he meets his match in the professor's former childhood friend, played by Williams. Both doctor and patient are haunted by the past and, as mutual respect develops, the healing process begins. The film's beauty lies not with grand climaxes, but with small, quiet moments. Scenes such as Affleck's clumsy pep talk to Damon while they drink beer after work, or any number of therapy session between Williams and Damon offer poignant looks at the awkward ways men show affection and feeling for one another.

Roundly dismissed as one of Steven Spielberg's least successful efforts, this very underrated film poignantly follows the World War II adventures of young Jim (a brilliant Christian Bale), caught in the throes of the fall of China. What if you once had everything and lost it all in an afternoon? What if you were only 12 years old at the time? Bale's transformation, from pampered British ruling-class child to an imprisoned, desperate, nearly feral boy, is nothing short of stunning. Also stunning are exceptional sets, cinematography and music (the last courtesy of John Williams) that enhance author J.G. Ballard's and screenwriter Tom Stoppard's depiction of another, less familiar casualty of war. In a time when competitors were releasing "comedic", derivative coming-of-age films, Empire of the Sun stands out as an epic in the classic David Lean sense--despite confusion or perceived competition with the equally excellent The Last Emperor (also released in 1987, and also a coming-of-age in a similar setting). It is also a remarkable testament to, yes, the human spirit.

ETERNAL SUNSHINE OF THE SPOTLESS MIND is an unconventional romance told in the abstract, inventive, and comedic storytelling style of screenwriter Charlie Kaufman. Like his scripts for ADAPTATION and BEING JOHN MALKOVICH, this plot works off of a relatively complex idea that is easier explained through language of film than through words. In its most basic description, Joel (Jim Carrey) is undergoing a medical procedure to erase the memory of his ex-girlfriend, Clementine (Kate Winslet). However, while he is unconscious and the procedure is underway, he takes a journey through his mind, re-living moments with Clementine for fear of losing her forever. Using disjointed sound and action, foggy periods indicating Joel's confusion, and flashbacks to childhood where objects appear much bigger than they are to adult eyes, the cinematography communicates Joel's dilemma with visual hilarity. Only occasionally is the film laugh-out-loud funny; instead it is much more deeply and darkly amusing as the absurdity of the situation grows. ETERNAL SUNSHINE is nothing short of brilliant--a credit to director Michel Gondry (who has a topnotch reputation for his aesthetic music videos by artists such as Bjork). Carrey is wonderfully understated in the role of a simpleminded nice guy, and his signature goofiness is used only a handful of times. Winslet too is almost unrecognisable as she lights up the screen with her blue hair and orange sweatshirt, playing a lively free spirit and loose cannon. There are also strong supporting performances by Kirsten Dunst, Elijah Wood, and Mark Ruffalo, along with an excellent score by Jon Brion and a soundtrack of songs by E.L.O. and The Polyphonic Spree. The film's conclusion promises to satisfy viewers; it offers a beautiful metaphor for the end of a love affair that brings perfect closure to this excellent film.

Field of Dreams is, in the words of its makers, a baseball film that "isn't about baseball". Rather, it's a magical film that works its spell on all but the most hard-boiled of viewers, an altogether superior slice of apple-pie sentimentality. Kevin Costner plays a young Iowa farmer who finds himself pestered by a whispering voice urging him, "If you build it, he will come". With the consent of an uncharacteristically supportive Hollywood wife (Amy Madigan) he sets about building a baseball diamond in the middle of his land. This action invites the prospect of bankruptcy--however, it also invites the spirit of "Shoeless" Joe Jackson, a baseball superstar disgraced following his role in the 1919 World Series scandal. The supernatural voices continue to urge Costner to "go the distance"--and he seeks out reclusive writer Thomas Mann (James Earl Jones) and "Doc" Graham (Burt Lancaster), impelled by purposes he is as yet unable to divine. Field of Dreams works because it touches so endearingly on themes of redemption, inner peace and the possibility of second chances--the "dreams" which elude most of us. It also cites baseball as an idyllic metaphor for all that is decent and constant about America. Costner gives immense plausibility to an utterly, deliberately implausible scenario.

Director Gus Van Sant brings to the screen this moving story of a grizzled recluse and an inner-city teenager brought together by their shared passion for writing. Like Van Sant's Oscar-nominated GOOD WILL HUNTING, FINDING FORRESTER earnestly explores the struggles of a youthful genius whose position in society (underprivileged kid from the wrong side of the tracks) makes him seem destined for failure until he forms a relationship with a gifted but introverted mentor who helps him see the light.The youthful genius is a talented urban basketball player named Jamal Wallace (Rob Brown), who in his spare time reads everything he can get his hands on, secretly scribbling prose and poetry into a composition pad. The introverted mentor is William Forrester (Sean Connery), who took the literary world by storm with his debut novel, AVALON RISING, 50 years earlier but now spends whole days shut inside his Bronx apartment looking out the window onto a basketball court where Jamal hangs out. Buoyed by excellent performances from Connery and newcomer Brown, FINDING FORRESTER paints a compelling, alluring portrait of friendship while offering intriguing insights into the heart and soul of the dedicated writer.

If you read the label on a box of chocolates you'll know exactly what you're gonna get. Life isn't like that in Forrest Gump, however, which is one of the reasons why this movie divided appreciative audiences from hard-hearted critics like few others before it. Audiences responded to the Frank Capra-style sentimentality of this warm-hearted tale of a good ol' American boy making his way in the world without ever losing his pure and simple innocence. Critics, however, were made uneasy by the apparently reactionary subtext to the parallel lives of Forrest and his girlfriend Jenny. Her fate, contrasted with his, suggests a triumph for plain ol' American values over dangerous freethinking hippies and liberals. Whether the movie is just unadulterated sentiment or right-wing propaganda, one thing at least was acknowledged by all: that Forrest Gump displays all the craftsmanship of one of Hollywood's most inventive directors and features a central performance from an actor renowned for his total commitment to every role. Thanks to Robert Zemeckis and Tom Hanks, even the most cynical critic will find it hard not to shed at least one tear by the end of this undeniably engrossing movie. The soundtrack is great, too.

This film has it all what it takes to make a really great movie. It is well done, an impressive cast, deep emotions, drama, deep friendship, laughter and never in a tacky, unrealistic way. One can relate to these characters very easily. The switch between past and present works great. I was hooked from the very first moment. I share the previous reviewer's view that one can see it several times and not getting bored rather seeing different aspect of this excellent movie more clearly. This is "toowanda"... see the movie and you will understand what it means. For now 5 stars would actually not enough to give to this movie. Just see it!!! You really must!!

Director Frank Darabont's second adaptation of a Stephen King prison tale (the first being 1994's nearly flawless THE SHAWSHANK REDEMPTION) is a hopeful charmer with a hint of the supernatural. The story focuses on Paul Edgecomb (Tom Hanks), a Louisiana security guard who works on death row during the Great Depression. When John Coffey (Michael Clarke Duncan), a gigantic black man convicted of raping and murdering two white girls, joins the other prisoners on the row, Paul's life is forever altered. Coffey doesn't fit the mold of a psychopathic killer; he's kind, gentle, and afraid of the dark. As the story progresses, Edgecomb learns that there is something more than simple goodness to Coffey. Building to a hopeful climax, Darabont once again proves that he is King's most loyal cinematic translator. The film features uniformly excellent performances in leading and supporting roles, notably Duncan as Coffey; David Morse and Barry Pepper as Hanks's fellow prison guards; and Michael Jeter as condemned killer Edward Delacroix.

Now perhaps the most beloved American film, It's a Wonderful Life was largely forgotten for years, due to a copyright quirk. Only in the late 1970s did it find its audience through repeated TV showings. Frank Capra's masterwork deserves its status as a feel-good communal event, but it is also one of the most fascinating films in the American cinema, a multilayered work of Dickensian density. George Bailey (played superbly by James Stewart) grows up in the small town of Bedford Falls, dreaming dreams of adventure and travel, but circumstances conspire to keep him enslaved to his home turf. Frustrated by his life, and haunted by an impending scandal, George prepares to commit suicide on Christmas Eve. A heavenly messenger (Henry Travers) arrives to show him a vision: what the world would have been like if George had never been born. The sequence is a vivid depiction of the American Dream gone bad, and probably the wildest thing Capra ever shot (the director's optimistic vision may have darkened during his experiences making military films in World War II). Capra's triumph is to acknowledge the difficulties and disappointments of life, while affirming--in the teary-eyed final reel--his cherished values of friendship and individual achievement. It's a Wonderful Life was not a big hit on its initial release, and it won no Oscars (Capra and Stewart were nominated); but it continues to weave a special magic.

At 45, architect George Monroe (Kevin Kline) has lost sight of his dreams. Living in an inherited shack he had planned on rebuilding years ago, he sits high atop the Southern California coast without stopping to enjoy the view. Unfulfilled and miserable at his job, he works tirelessly while losing his grip on his happiness and his estranged family: ex-wife Robin (Kristen Scott Thomas) and maladjusted son Sam (Hayden Christensen). But, in one day, the course of George's life changes forever. He is fired from his job and diagnosed with a terminal illness. Given only four months to live, George vows to accomplish his lifelong dream of building his dream house. He recruits his son's begrudging help for the summer. Over the course of the next few months, George attempts to mend his long-suffering relationship with the brooding and intense 16-year-old as they tear down the ramshackle shack and rebuild a monument to his dreams. While they work, the neighborhood watches in awe. The much maligned eyesore is transformed. Mary Steenburgen costars as next-door neighbor Colleen who engages in some free-spirited activities of her own while her daughter Alyssa (Jena Malone) helps to brighten Sam's summer. Finally, it is Robin who begins to see a change in George and feels herself drawn back into the life of her longtime ex. Together Robin and Sam help George fulfill his goal as he rebuilds his house (and his life) before it is too late. Kline delivers a fine-tuned performance that embodies an impressive range of emotion fueled by the witty and ultimately moving script from AS GOOD AS IT GETS screenwriter Mark Andrus.

Italy's rubber-faced funnyman Roberto Benigni accomplishes the impossible in his World War II comedy Life Is Beautiful: he shapes a simultaneously hilarious and haunting comedy out of the tragedy of the Holocaust. An international sensation and the most successful foreign language film in US history, the picture also earned director-cowriter-star Benigni Oscars for Best Foreign Language Film and Best Actor. He plays the Jewish country boy Guido, a madcap romantic in Mussolini's Italy who wins the heart of his sweetheart (Benigni's real-life sweetie, Nicoletta Braschi) and raises a darling son (the adorable Giorgio Cantarini) in the shadow of fascism. When the Nazis ship the men off to a concentration camp in the waning days of the war, Guido is determined to shelter his son from the evils around them and convinces him they're in an elaborate contest to win (of all things) a tank. Guido tirelessly maintains the ruse with comic ingenuity, even as the horrors escalate and the camp's population continues to dwindle--all the more impetus to keep his son safe, secure and, most of all, hidden. Benigni walks a fine line mining comedy from tragedy and his efforts are pure fantasy--he accomplishes feats no man could realistically pull off--both of which have drawn fire from a few critics. Yet for all its wacky humour and inventive gags, Life Is Beautiful is a moving and poignant tale of one father's sacrifice to save not just his young son's life but his innocence in the face of one of the most evil acts ever perpetrated by the human race.

In this adaptation of Victor Hugo's evergreen classic, Liam Neeson is Jean Valjean, imprisoned for stealing bread then paroled after nearly two decades of hard labour. A gift of silver candlesticks from a kindly priest helps him begin anew. Forging a decent and profitable existence, he finds success as a businessman and as the mayor of a small town. He even takes in a pregnant young woman (Uma Thurman) and raises her daughter as his own. But when a former prison guard (Geoffrey Rush) recognises Valjean, his past catches up to him. Director Bille August culls mesmerising performances from his cast, but loses us with an ending that panders to teen audiences. The focus shifts dramatically, and uncomfortably, from the haunted Neeson and his hawk-like pursuer, to his daughter (Claire Danes) and her romance with a handsome revolutionary. After this narrative shift, the script leaves behind Hugo themes of revenge and redemption to focus improbably on teen angst--hardly what the author had on his mind.

Director Mimi Leder's third movie, Pay it Forward, finds her moving into softer, more intimate territory after making her name with a pair of high-budget action spectaculars, The Peacemaker and Deep Impact. This is a would-be heart-warming fable about the power of human kindness, but it's handled with such heavy sententiousness as to suggest that she might do better sticking to the big-bang stuff. Haley Joel Osment (The Sixth Sense, A.I.), son of a struggling lone parent (Helen Hunt) in Las Vegas, is influenced by inspirational teacher Kevin Spacey to come up with a scheme for social betterment: do acts of benevolence to three people, each of whom then does something good for three more, and so on. Inevitably, the lad's first ventures come to grief, but then the idea starts catching on and spreading, and a reporter in Los Angeles gets wind of it. This Readers Digest-ish scenario, treated with great solemnity by Leder and screenwriter Leslie Dixon, leaves the cast struggling to make something individual out of their pre-cooked roles. As you'd expect given such a line-up of acting talent, several scenes come off better than they deserve, and Spacey in particular does wonders with what is, in effect, two Hollywood clichés rolled into one: not just "offbeat inspirational teacher" but "shy, reclusive burns victim" as well. Interesting, too, to see a Vegas-set movie that shows a low-rent side of the city well away from the glitz and glamour of the Strip. But in the end, all else is drowned out by the clatter of predetermined plot-points being hammered home.

When The Shawshank Redemption was released in 1994, some critics complained that this popular prison drama was too long to sustain its plot. Those complaints miss the point, because the passage of time is crucial to this story about patience, the squeaky wheels of justice and the growth of a life-long friendship. Only when the film reaches its final, emotionally satisfying scene do you fully understand why writer-director Frank Darabont (adapting a novella by Stephen King) allows the story to unfold at its necessary pace. Tim Robbins plays a banker named Andy who is sent to Shawshank Prison on a murder charge, but as he gets to know a life-term prisoner named Red (Morgan Freeman), we soon realise his claims of innocence are credible. We also realise that Andy's calm, quiet exterior hides a great reserve of patience and fortitude, and Red comes to admire this mild-mannered man who first struck him as weak and unfit for prison life. So it is that The Shawshank Redemption builds considerable impact as a prison drama that defies the conventions of the genre (violence, brutality, riots) to illustrate its theme of faith, friendship and survival. Nominated for seven Academy Awards including Best Picture, Actor and Screenplay, it's a remarkable film (which movie lovers count among their all-time favourites) that signalled the arrival of a promising new filmmaker.