Laws of Attraction

Tags

2000's, Frances Fisher, Julianne Moore, Laws of Attraction, Michael Sheen, Parker Posey, Peter Howitt, Pierce Brosnan, Romantic Comedy

Film Title

Laws of Attraction

Director

Peter Howitt

Starring

• Julianne Moore as Audrey Woods
• Pierce Brosnan as Daniel Rafferty
• Michael Sheen as Thorne Jamison
• Parker Posey as Serena Jamison
• Frances Fisher as Sara

This romantic comedy never quite hits the mark that it is going for in trying to emulate classic battle of the sexes movies, but thanks to good chemistry from the leads, Laws of Attraction is at least an entertaining way to pass the time.

Audrey Woods is a successful divorce lawyer in New York who does things by the book and studiously, which pays off as she has never lost a case. That is threatened however by the recent arrival of the irascible Daniel Rafferty, another divorce lawyer who boasts a similar reputation, but different methods. While Audrey is the analytical and slightly prim one, Daniel gets by on luck and charm. They find themselves continually pitted against the other and this is where a sexual tension builds. Audrey, who has all but given up on the dating scene, has no interest in a relationship after seeing so many just wither away. Daniel on the contrary is extremely attracted to her and wants something genuine out of it, much to Audrey’s chagrin. Yet these feelings may go on the back burner when trashy couple of rock star Thorne and designer wife Serena head to the divorce court. Audrey and Daniel continue to clash in and out of the courtroom, especially when they must visit the couple’s castle in Ireland that both of the squabbling parties wants for themselves. Yet after one specific event during an eventful night for Audrey and Daniel, things between them could very well change, even though each is on the opposing side. The gloves are off as battle commences, yet will the undeniable spark that sizzles between them thaw out or ignite into something else?

Peter Howitt and his direction are passable, but not really setting the world ablaze. Regardless, he displays some talent for humour, despite the slim pickings and silliness of some of the content present. Laws of Attraction isn’t what you would call compelling viewing, and yet there are some good points that can be combed from the mess. It amounts to a pleasing diversion if nothing else, but you are left with the feeling that more could have been injected into the film somehow. The script was amiable and had moments of good banter between the feuding lawyers, but it never had that snap of the romantic comedies of old that it was trying to reference. Undeniably, it has a few laughs in there that occasionally hit the mark very well that I simply can’t deny. But judging the overall experience, there is definitely something curiously uneven about Laws of Attraction that drag it down in my estimations. The chemistry of the leads makes up for some of this, raising the film to a watchable level. There is the glossy style of the film that carries a certain kitsch and archaic quality to it, plus the locations of New York and Ireland are quite stunning. The music provided is pleasing to the ear and more than a little playful. And I did enjoy the retro infused title sequence that is one of the better attempts in the film to have an old-fashioned sense of celluloid. But considering there are good elements in Laws of Attraction, one can’t help but feel there is a void there that needed to be filled.

If anything saves Laws of Attraction from being dull and a complete washout, it has to be most of the cast, in particular the romantic leads. Julianne Moore is one of the most versatile actresses out there and here she shows a whole new different side. Vastly sailing above the by the numbers material, she displays some deft skill at comedy by playing career woman Audrey with a neurotic humour and heart. The tough outer steel of the character is a mask that slips to reveal insecurity and a want for love, all of which is embodied with ease by Moore. She really made me laugh in parts of this film with her quick talking antics and smart yet desperate yearning. It’s hats off to the delightful Julianne Moore in another great performance. Pierce Brosnan plays the rakish sparring partner and love interest. Portraying suave and smooth is nothing groundbreaking for him, but as it is his strong suit, he uses it well in the part. The same can’t be said of Michael Sheen and Parker Posey, who are basically thrown into the mix as a plot device and nothing else. I respect and enjoy watching both actors normally, but the sheer lack of any decipherable role is unfortunate for both of them. The film could have at least called for them to do more as the trashy couple going through the acrimonious divorce. Frances Fisher is the best in the supporting cast. As the Botox-loving, cocktail swigging mother of Audrey, she registers the most laughs in her attempts to be young again through any means possible. Whenever she is on screen, Fisher is a comic delight to be enjoyed.

It never ever reaches full potential and more than often feels rushed, though the acting is fine from Brosnan and Moore. I just wanted something more out of Laws of Attraction, which winds up with me seeing it as a mixed movie.

 

The Eye

Tags

2000's, Alessandro Nivola, David Moreau, Horror, Jessica Alba, Parker Posey, Supernatural Horror, The Eye, Xavier Palud

Film Title

The Eye

Directors

David Moreau and Xavier Palud

Starring

• Jessica Alba as Sydney Wells
• Alessandro Nivola as Paul Faulkner
• Parker Posey as Helen Wells

A horror movie that is in desperate need of some scares and could have been a lot better, The Eye feels like a failed opportunity. Some of the visuals are good as well as the music, but the rest of it is a complete mess that never grabs the attention. After seeing this I think I’ll check out the original film as I am certain it will be a lot better than anything this one offers.

Sydney Wells is a beautiful concert violinist who has been blind since a childhood game went wrong. She has learned to function with her other senses since then, but has always wanted to regain sight. Luckily for her, she is about to undergo a cornea transplant which is hoped to work for her. The transplant appears to be successful and slowly Sydney begins to regain the sight she has wanted for so long. Yet this enthusiasm is cut short by the fact that her vision seems to pick up on unexplainable things. She glimpses dead people and a constant scene of fire that remains unclear, yet refuses to leave. Knowing that she isn’t going insane, she attempts to confide in her visual therapist Paul Faulkner. He wants to help her, but doesn’t believe her story of seeing supernatural events around her that don’t have any scientific logic to them. Gradually becoming more isolated and terrified of what she sees, Sydney is still determined to figure out why she can see these ghostly apparitions and what the link is with the person who the eyes originally belonged to.

Directors David Moreau and Xavier Palud don’t exactly inspire confidence with their uneven direction of what should be a creepy supernatural film. They scare up a few twists of terror, but you can count them on one hand which really tells you something about the rest of the film. And that is where the biggest problem with The Eye lies, it just isn’t scary enough as a horror film. In fact, there are many parts when it starts to get unintentionally funny which is never a good sign when you want to create something creepy. The only really successful parts of The Eye are the cinematography and music score. In terms of cinematography, the use of grey accentuates a feeling of darkness and unease for Sydney and her assaulting visions. At least some spooky atmosphere can be gleaned through this, though it is few and far between at best. And the music from Marco Beltrami creates an ominous mood to the film, actually becoming something of a saving grace from what is a tired and turgid exercise of a film. The Eye is just a weak film from beginning to end and thoroughly a genuine waste for everyone involved.

In terms of acting and screenplay, The Eye also stumbles quite a bit. Jessica Alba does an adequate job as the terrified woman beset by horrific visions, but we never feel emotionally involved with her at all. Alba manages to get across a sense of fear, yet this isn’t enough and she comes off as very wooden. I think the part may have worked in the hands of a better actress who could actually get a feeling of sympathy across in the character. Alessandro Nivola similarly struggles with his part, which is not actually his fault. He can’t quite do much as he is saddled with such a dull part that is far from memorable. And then we have Parker Posey, who is sadly not allowed to show off her kooky sensibilities that she is known for. Even if a movie is bad, usually the acting in some capacity is good. Sadly, The Eye isn’t one of them.

The Eye is just sadly a monstrosity and never comes together well enough. Save for a few good visuals and some jolts of horror, it never arrests you or even interests in the end. A sadly wasted and boring experience.

Scream 3

Tags

2000's, Courteney Cox, David Arquette, Deon Richmond, Emily Mortimer, Horror, Jenny McCarthy, Lance Henriksen, Liev Schreiber, Matt Keeslar, Neve Campbell, Parker Posey, Patrick Dempsey, Scott Foley, Scream 3, Wes Craven

Film Title

Scream 3

Director

Wes Craven

Starring

• Neve Campbell as Sidney Prescott
• Courteney Cox as Gale Weathers
• David Arquette as Dewey Riley
• Parker Posey as Jennifer Jolie
• Scott Foley as Roman Bridger
• Patrick Dempsey as Mark Kincaid
• Lance Henriksen as John Milton
• Matt Keeslar as Tom Prinze
• Jenny McCarthy as Sarah Darling
• Emily Mortimer as Angelina Tyler
• Deon Richmond as Tyson Fox
• Liev Schreiber as Cotton Weary

The third entry into the original Scream Trilogy, Scream 3 doesn’t meet the standards set by the first Scream and second film. Yet it does wrap the series up with some witty humour and genuine scares. Scream 3 may be the weakest of the bunch as it falls into the trap of many horror clichés that the other films so greatly lampooned, but it does have some merits that make it enjoyable including the acting and suspense.

In the opening scenes, we see Cotton Weary has now become a major celebrity with his own talk show. As he is driving home one night after filming a cameo in the latest ‘Stab’ movie, he is contacted by none other than Ghostface who proceeds to kill his girlfriend. When Cotton arrives, he is beaten by Ghostface, who asks where Sidney Prescott is. Refusing to answer, Cotton is stabbed to death. Sidney, since the events of Scream 2 has isolated herself in the Californian mountains under tight security, hoping to escape the nightmares of her past encounters with Ghostface. Meanwhile, reporter Gale Weathers is drawn into the investigation of Cotton’s death after a photograph of Sidney’s mother is found near his body. It seems the killer has his own agenda by targeting the stars of the latest ‘Stab’ movie in the order in which the die in the script and an interest in drawing Sidney out of her cocoon with some revelations about her late mother. Reuniting with Dewey, Gale begins to investigate the relevance of Maureen Prescott’s pictures with the added help of Jennifer Jolie, the flighty actress playing Gale Weathers in the ‘Stab’ flick. As the body count begins to pile up, Sidney realises she must break out of her isolation and once more face off with Ghostface in order to rid herself of the pain he has caused her. Yet as we are told via Randy’s video message, with this being a trilogy all bets are off and the usual rules of the horror movie have now been turned upside down.

As I previously mentioned, Scream 3 does not match the heights of the film before it. Part of this is due to the script, which for the first time isn’t written by Kevin Williamson. Whereas he managed to balance the horror and the humour, this one features too much comedy in it and the film suffers as a result. The descent into horror conventions is also a downside as the characters in the past two movies where self-aware of these and mocked them. At least we have Wes Craven’s direction which helps to create many suspenseful moments including a haunting scene in which the isolated Sidney dreams of her mother dressed in ghostly white, who warns that everything she touches dies. Adding to the suspense of the picture is once again the gothic score of morose chanting and slithering drums.

For all of its flaws, at least we have the talented principal cast to fall back on. Neve Campbell once again brings strength and underlying vulnerability to the role of Sidney, who realises that to exorcise her nightmares she must do battle with Ghostface. We see the growth of Sidney in this film and how she can now capably defend herself when threatened with her mind as well as her fists. Courteney Cox shows how Gale has softened but still can’t resist getting her hands on the latest news scoop. She has excellent chemistry with David Arquette as Dewey as the two quietly resume their romance whilst overcoming obstacles. Out of the newer cast, Parker Posey steals the show as Jennifer Jolie, who believes she is better than the real Gale Weathers and has interesting ways of getting into character. She is funny and fawning with her over the top remarks and highly strung personality that really give the film a jolt of much-needed humour. The rest of the supporting cast, which includes Patrick Dempsey, Jenny McCarthy and Emily Mortimer are unfortunately lumbered with uninteresting roles and are purely there to be the victims of Ghostface. Even Liev Schreiber who played Cotton so well in Scream 2 is murdered within 10 minutes of the film starting.

So all in all, Scream 3 doesn’t make as much of an impact as the first two movies. But saying that it does have some effective scares and performances that manage to wrap up the trilogy in a good but not great way.