75 Great Performances: #8

8. Anna Magnani as Pina in Roma, Città Aperta (1945)

The scene where Pina, played to perfection by Anna Magnani, runs after her captured husband only to meet tragedy is now one of cinema's most iconic scenes. The Italian screen legend was directed by the great director Roberto Rossellini in Roma, Città Aperta to great effect. Without being the lead character, Pina becomes central to the story and its theme, and it is largely because of how well Magnani handles the emotionality of the role. This performance made her a star of Italian and international movies, giving her the status of world cinema icon. If only more actresses of today could have such range and depth as the late great Anna Magnani.

Source

#9: Marlon Brando as Don Vito Corleone in The Godfather (1972)

Review: The Devil Wears Prada

Has the great Meryl Streep ever not been...well, great? As the title character in the wickedly funny The Devil Wears Prada, Streep gives another masterful performance, easily making Miranda Priestly a not-entirely-soulless monster. Not many actresses could have made being a real bitch seem effortless, but then again, we're talking about the most nominated actress here. Anna Hathaway, the true lead of the film, does a fine job with it. I've been impressed with her since Brokeback Mountain, and she doesn't disappoint here. The film is great fun and has some depth, but it is still predictable and does not offer much of anything new in terms of its plot. Still, that's a minor consideration given that you're given nearly two hours of a good performance from Hathaway, fine contributions from Stanley Tucci and Emily Blunt, and delicious nastiness from La Streep herself. Grade: B+

Image from IMDb

Review: My Super Ex-Girlfriend

Comic book- and superhero-themed movies are everywhere nowadays, so an interesting, unique concept is always welcome. The superpower twist to the age-old ex-girlfriend storyline was attractive enough when My Super Ex-Girlfriend was first announced, and the addition to the cast of Uma Thurman as the lead actress was icing on the cake. Did I come into the theatre expecting too much? I was expecting the film to at least be fun, but certainly not for it to be great. Still, I came out rather disappointed. The film did nothing for me, except have a few occasional laughs. Uma fit her role very well, but Luke Wilson has less than half that charisma of his brother Owen, Rainn Wilson was as boring and flat as film sidekicks/best buddies can get, and ever hilarious Anna Faris was severely underutilized. Thurman was practically the only saving grace of this lame (though sometimes amusing) superhero movie. Grade: C

Image from IMDb

75 Great Performances: #9

9. Marlon Brando as Don Vito Corleone in The Godfather (1972)

"I'm gonna make him an offer he can't refuse." As Tom Hanks's character in You've Got Mail claims, you can expect a man to be able to quote from one of the most revered films in cinematic history (particularly by men), Francis Ford Coppola's The Godfather. The film is chockfull of interesting, even incendiary sequences, conversations, and characters. But of the latter facet of the epic, none is more forceful and imprinting as Don Vito Corleone, played to subtle, raspy-voiced perfection by the late great Marlon Brando. It speaks highly of Brando's skill that despite (or precisely because of) Corleone's placid manner, he is able to dominate the mental and oral landscape of anyone who sees the film. He is easily the most impersonated of the characters. Corleone had to have the balance of power and tranquility, a quiet authority that can be respected tremendously. In the hands of a less introspective actor, that balance would not have been achieved. But Brando nails the performance with the gravitas of a silent, thunder-less storm. In a rich history of characters played over his years in cinema, Corleone may not be his best acting showcase as far as skills go, but it is essential Brando and definitely the most realized and unforgettable.

#10: Uma Thurman as The Bride in Kill Bill (2003-2004)

75 Great Performances: #10

10. Uma Thurman as The Bride in Kill Bill (2003-2004)

If film audiences were made to make a list of cinema's most iconic characters, Uma Thurman's The Bride in the Quentin Tarantino bloodbath masterpiece Kill Bill would definitely make it there. Hot, wronged chick with a score to settle, and oh how masterfully and colorfully (mostly in the hues of reds) she does it! The films themselves are brilliant works of cinematic and musical art, with adrenaline-pumping fight sequences (among the best in any film I've seen), heart- and foot-thumping music, and just pure geekdom fantasies come true. Add to the mix statuesque Greek-goddess-beauty Uma Thurman in the lead role, remaining mysteriously and seductively unnamed until the second film. The Bride (Beatrix Kiddo) could have been just another butt-kicking heroine with killer moves and looks, but Thurman infuses her with such emotional strength (picture above shows a particularly fine moment for her) that she goes beyond being mere eye candy or girl power figurehead. It is a true, amazing acting showcase, one that should have gotten her at least an Oscar nomination. But hey, even if she got snubbed for the major awards, there's no doubt that Thurman will forever be remembered as the one we joined for two films in her journey to "Kill Bill."

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Review: American Dreamz

"Dreamz...with a Z."

It's almost just as silly as the Anna Faris song ("Forgiveness...is more than saying sorry...") in Just Friends, but it's hardly indicative of the tone of the whole movie. Yes, Paul Weitz's American Dreamz can be a laugh-trip (primarily courtesy of Tony Yalda as the outrageous diva Iqbal Riza), but the political themes prevent the film from sagging into merely an insignificant parody of "American Idol." It's a good film, but it's hard to encapsulate the feelings that it invokes as a whole. It's not slapstick comedy, but it's too light and fluffy to be genuine political satire. Let's just say that it's an unusual comedy film that yes, I still recommend that you watch. But if you're a fan of Hugh Grant (as much as I am), don't expect as much charm and wit here as he exhibits in his better films, like Love Actually (where he's brilliant). This isn't his film. Grade: B

Review: Kubrador

The Philippine film Kubrador has been winning international awards for both the film itself and its lead actress, Gina Pareño. It is beyond any doubt a well crafted film, with a fine ensemble and a simple, significant storyline. Pareño in particular deserves a lot of praise for her exceptional work; there is no trace of falsehood or exaggeration in her acting, which seems effortless. But the camerawork, while mostly well executed, could at times be dizzying, and the ending sequence, while strong, can leave the audience unsatisfied (as I was). Still, overall, the film and Pareño deserve every accolade, and here's hoping for more. Grade: B+

FYC: Gina Pareño - Best Actress

75 Great Performances: 15-11

15. Paul Giamatti as Miles in Sideways (2004)

I believe that it is still one of the Academy's greatest mistakes that they did not give Paul Giamatti a nomination for his role in the critical darling Sideways. In a sea of actors playing real-life people that year, Giamatti's Miles was one of the most realized and brilliantly acted, quiet and understated.

14. Annette Bening as Julia Lambert in Being Julia (2004)

That same year, Annette Bening turned in one of the best and juiciest performances of her career, only to lose (again) to Hilary Swank. What does it take to have Bening win an Oscar? Outrageously over-the-top, sexy, defiant, regal...all these words apply to Bening's Julia Lambert, stage diva, in Being Julia. No one but her could have been Julia.

13. Leonardo DiCaprio as Howard Hughes in The Aviator (2004)

It would seem odd that three of the performances in my list are from the same year (and so highly ranked). Blame it on freshness of impression and, of course, sheer talent. While Giamatti's turn in Sideways was the meek, passive performance, Leonardo DiCaprio's Howard Hughes was the firecracker, the powerhouse: bold and brazen. The role of the eccentric director in The Aviator allowed DiCaprio to explore and amazingly display a wide range of emotions in a rollercoaster head trip. Having gotten a Supporting nod once for his role in What's Eating Gilbert Grape, DiCaprio seems to excel in portraying mentally challenged characters. But his range and depth of acting cannot be denied, easily proving that he's so much more than a pretty face.

12. Ben Kingsley as Massoud Amir Behrani in House of Sand and Fog (2003)

In House of Sand and Fog, Ben Kingsley plays the role of an Iranian immigrant who could quickly be labeled by many as a villain. With his stern, no-nonsense attitude, he prevents Kathy (Jennifer Connelly) from getting back her house after her eviction. It is easy to have no sympathy for and instead have ire toward Behrani, for he is consistently cold, but in the last half or so of the film, it is inevitable to feel the struggles of the man. Kingsley portrays Behrani with a power and a humanity that is not often seen in many performances of recent cinema. It is easily his best performance, and definitely for me was the best of 2003.

11. Michelle Pfeiffer as Selina Kyle/Catwoman in Batman Returns (1992)

Many of the same words that I had used to describe Annette Bening's Julia Lambert can also be used for Michelle Pfeiffer's Catwoman in Batman Returns: over-the-top, sexy, defiant. Add to those slinky and campy (in a good way). Diva in leather. This is arguably Pfeiffer's most memorable performance; the images of her as loopy, confused Selina and especially in leather with a whip as rebellious Catwoman have been ingrained in the minds of viewers. In the media of television and film, Pfeiffer's is the essential Catwoman, strong yet conflicted and fragile. And no one could have looked better in that costume.

Image source

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Introduction and #s 75-51

75 Great Performances: 20-16

20. Peter O'Toole as T.H. Lawrence in Lawrence of Arabia (1962)

Peter O'Toole, who has yet to win a competetive Oscar, is in my opinion one of Hollywood's best actors. It is unfortunate that he did not win even for playing T.H. Lawrence in one of the greatest epics, Lawrence of Arabia. O'Toole was able to infuse the character with the strength and humanity that the historical Lawrence was known to have had, and not once does he falter in making Lawrence seem fragile and powerful at the same time. A lesser actor would have fumbled, or gone overboard in the portrayal of a man in a rage of conviction, but few actors could claim to have the same elegance and magnificence as Peter O'Toole.

Image from IMDb

19. F. Murray Abraham as Antonio Salieri in Amadeus (1984)

Where is F. Murray Abraham nowadays? He was amazing as the envious composer Antonio Salieri in Milos Forman's Amadeus, a role that won him an Oscar for Best Actor over co-lead Tom Hulce who played Wolfgang Amadeus Mozart. Old, broken Salieri recounting his past or the younger vessel of rage over the unlikely genius that was Mozart, F. Murray Abraham portrays the character with a respectful dignity, gestures and expressions that make him seem a victim of circumstance. Modern epics would do much better with actors like Abraham taking the reins.

18. Ben Kingsley as Mohandas Gandhi in Gandhi (1982)

Perhaps one of the most memorable and revered biopic performances of all time, Ben Kingsley's turn as the title character in Richard Attenborough's masterpiece Gandhi easily and deservedly won him a Best Actor Oscar. It was a great boon to Kingsley that he has Indian blood and thus effortlessly looked the part, but it should not cause one to overlook how brilliantly he played the great man of peace. His Gandhi is always serene, almost ethereal, even when he is made to show sterner stuff than is expected from one of his reputation. With Kingsley, as it was with Gandhi, gentleness and strength can form a formidable combination.

17. Benicio del Toro as Jack Jordan in 21 Grams (2003)

Few recent performances can be called searing and raw, the type that makes the viewer cringe, shudder, or even sit back in terror of the emotions so powerfully conveyed on screen. While Sean Penn and Naomi Watts (#49 in this list) have this type of performance in the masterful ensemble 21 Grams, it is Benicio del Toro's Jack Jordan that is truly incendiary. In an interview, even Melissa Leo (who plays Jack's wife Marianne) says she was scared of del Toro's character. The scene where he orders his daughter to allow her brother to hit her on the other arm is a particularly haunting one, where Jack shows his fanaticism. Few performances after this have matched it for its power to stimulate the emotions that it sets out to invoke.

Image from IMDb

16. Anthony Hopkins as Hannibal 'The Cannibal' Lecter in The Silence of the Lambs (1991)

In his short appearance as Hannibal Lecter in The Silence of the Lambs, Anthony Hopkins is easily able to steal key scenes from his costar Jodie Foster, and in the process create one of cinema's most iconic characters. Some of the most memorable quotes ("A census taker once tried to test me. I ate his liver with some fava beans and a nice chianti.") come from Lecter, a deliciously portrayed villain that is more realized than many of cinema's more blatant and less subtle 'monsters.'

Image from Film.org

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Introduction and #s 75-51

Heath Ledger is The Joker

Warner Bros. has confirmed that Heath Ledger will be playing The Joker in The Dark Knight, sequel to last year's Batman Begins. Good choice, I say. Unexpected, but original and inspired. Meanwhile, Ryan Philippe is rumored to be getting the role of Harvey Dent, who will eventually become Two-Face in the next installment.

Nicole Kidman is Mrs. Coulter

Nicole Kidman has been cast as Mrs. Coulter in the upcoming film adaptation of His Dark Materials: The Golden Compass. I wanted Kristin Scott Thomas to get the role, but I'm very happy with this choice, as are the many people who had wanted very early on for Kidman to play the role. Kidman joins Dakota Richards (Lyra), Adam Godley (Pantalaimon), and Paul Bettany (Lord Asriel).

Review: Lady in the Water

Much like the critic (played by Bob Balaban) in M. Night Shyamalan's Lady in the Water, most real critics nowadays have turned into bitter, petty people who can't enjoy a film. Most of them are right in saying that the film had a lot of unrealistic, contrived and pretentious moments (I found myself saying "Huh?" in some of them), but it is nowhere near deserving of such harshness (it currently stands at 22% at Rotten Tomatoes). In its worst moments, the film is easily juvenile, and these are when Shyamalan seems unable to adequately realize his undoubtedly creative thoughts and put them effectively to screen. But Lady in the Water is a very entertaining and even inspiring film that does make you ask yourself certain questions about roles in the world and futures, and Shyamalan sets his plot in a bedtime story that evokes wonder and awe as much as any ancient folktale. It helps that Paul Giamatti and Bryce Dallas Howard are highly capable actors, and that, unlike many of the most prominent critics, I can still appreciate creativity and intention. Grade: B

Image from IMDb

Mini-rant on Miss Universe 2006

Yes, I do watch the pageant. But for some time now, I haven't rooted for a candidate as much as I did this year. But just like the last time (1999, when Philippine candidate Miriam Quiambao fell one place short of the title), I ended up disappointed. Japan's Kurara Chibana had it all: looks (whoa), smart answers (atypical, but cute, charming, and still smart), a fanbase (the cheers for her were thunderous), and a killer national costume (literally: she wore a sort of samurai suit; it won Best National Costume, deservedly so). But she still lost to Puerto Rico's Zuleyka Rivera Mendoza, who admittedly was the more typical Miss Universe. This makes it Puerto Rico's fifth Miss Universe crown. Japan has had only one. Come on, if Chibana's answer to the final question had been bad (as Quiambao's had in 1999), I'd understand her loss. But it didn't. Maybe the male judges (which most of them were) didn't like her answer about male violence about women being something she wanted to change. I'm just really disappointed.

Cinemalaya 2006 Winners (and my reviews)

The winners of the Cinemalaya Philippine Independent Film Festival 2006:

Best Feature Film: Tulad ng Dati
Best Director: Ron Bryant (Rotonda)
Best Actor: Alchris Galura (Batad: Sa Paang Palay)
Best Actress: Angel Aquino (Donsol)

Out of the eight films in competition for the feature film award, I was able to (unfortunately) catch only four. One of those other four that I failed to watch was Tulad ng Dati, the film about local band The Dawn that ultimately won the top prize. I thought that Donsol would easily get the award, for it was a very well made film of high technical quality, and the principal cast (particularly lead actor Sid Lucero) was highly capable. Then again, I wasn't able to see all the entries.

Donsol is the type of local film that one would be proud to show to an international audience. Not only does it show how breathtakingly beautiful the Philippines really is despite all the bad rep; it is a strong love story that, while not exactly original, plays on the metaphors of the whale shark elegantly and allows the movie to be as much about the location as it is about the characters. Lucero is a natural and is able to show here how good an actor he is, Angel Aquino holds her own and strongly provides the central drama to the plot, and supporting actors Cherie Gil and Jacklyn Jose are, as always, flawless in their performances. I thought this film would run away with the major awards.

Sid Lucero would have easily deserved a victory, but so does Alchris Galura, lead actor of Batad: Sa Paang Palay. I am always very happy to see actors in the Philippines being so natural in their performances, because such is very rare nowadays (most local actors tend to overact). Galura is a very charismatic young actor who effortlessly makes you sympathize with his consuming obsession over having rubber shoes (he's an Ifugao). Set amidst the beautiful rice terraces and with great original tribal music, this is another very good film that should be shown outside the country.

The other two films that I watched, Mudraks and Rotonda, are, in my humble opinion, well meant but mediocre films. Rotonda is the typical Filipino indie: dark, ensemble-driven, and ultimately with a violent ending. I am no expert in directing, so I wouldn't say that Ron Bryant did not deserve to win over Adolfo Alix (Donsol), although that is my opinion. Case in point: Epi Quizon's performance in Rotonda is one of the most forced, unregulated, grating ones I've seen in a long time (that scene where he was shouting was PAINFUL). I'm certain that I would have appreciated Mudraks more had there been none of the terrible technical difficulties that were present during the screening that I caught, but taking that into consideration, I still could not say that anything in the film was remotely special, from the acting, to the story, to the technical details. I had expected it to be a stirring drama, but it did not elicit any strong feelings from me.

The Cinemalaya is a good showcase for what we're capable of despite low budgets, as long as there's commitment and originality. More power to such festivals!

75 Great Performances: 25-21

25. Naomi Watts as Ann Darrow in King Kong (2005)

Fay Wray’s would forever be considered the iconic Ann Darrow, but one would be hard pressed to call it the most well performed. In 2005, Naomi Watts gave that year’s most undervalued, overlooked performance. Her portrayal of Darrow in Peter Jackson’s version of King Kong deserved every praise it garnered and more. In the film, Watts is pushed down, carried around, thrown in the air, and at times, as the role warrants, she does some vaudeville stunts of her own. Her sympathy for Kong is evident in her sweet gaze on the towering primate and in her protective stance atop the building. Watts’s Darrow is someone you could easily see as being the beauty that would fell the beast. With her physical and emotional investment in the role, Watts easily gave the film its human heart.

24. Shirley MacLaine as Aurora Greenway in Terms of Endearment (1983)

Strong, incorrigible, and, ultimately, fiercely maternal, Shirley MacLaine’s Aurora Greenway in Terms of Endearment is a strong, significant role that we no longer see so often played by veteran actresses. Whether she's having fun with Jack Nicholson or breaking down at the sight of her daughter (Debra Winger) in pain, MacLaine is simply perfect for the role. She was justified in saying during the awards ceremony that she deserved to win the Oscar for Best Actress that year.

23. Diane Keaton as Bessie Greenfield in Marvin's Room (1996)

Diane Keaton thankfully got nominated for a heartbreaking role in a film that few would probably remember, Marvin's Room. She plays a leukemia patient constantly at odds with her sister Lee (Meryl Streep), and her character's moments with Lee and Lee's son Hank (Leonardo DiCaprio) are precious moments of sincerely acted familial love. All three actors shine in this film, but it is Keaton as Bessie Greenfield, perhaps her most underrated role, that carries the film to its emotional last scenes.

22. Julianne Moore as Cathy Whitaker in Far From Heaven (2002)

2002 is arguably Julianne Moore's best year, with two fantastic performances (as Cathy Whitaker in Far From Heaven and as Laura Brown in The Hours). Until the time I'm writing this, I'm still debating with myself as to which performance I consider "greater," and thus which performance to include in this list. For sheer strength, significance, and the fact that it's so much more memorable, I'm giving that distinction to her Cathy Whitaker, suffering wife and woman. But I'm still citing her Laura Brown as an amazing performance, one that should have either won her the Supporting category or gotten her a co-lead nomination with Nicole Kidman. Think of this as #22a and #22b.

21. Marlee Matlin as Sarah Norman in Children of a Lesser God (1986)

Marlee Matlin is easily one of the actresses I miss seeing the most in films nowadays. Not only is she astoundingly beautiful; she's also a very expressive actress. Though she can speak very fluently, she can shift from speaking to signing and vice versa without missing her rhythm. In Children of a Lesser God, she plays Sarah Norman, an angry, volatile hearing-impaired woman whose love can be as fiery as her anger. It's a great joy watching Matlin perform whatever her emotion is at a certain moment. With her it's like a dance, silent yet powerful, smooth yet fierce.

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Introduction and #s 75-51

Most Anticipated Films of 2006

We're halfway through the year, and some of the most exciting films (e.g., X-Men: The Last Stand, Superman Returns, Pirates of the Caribbean: Dead Man's Chest, etc.) have already been shown. But as with most years, many of the truly best films have been reserved for the last few months of 2006, and some of them are among the most anticipated by Oscar pundits and film buffs alike. This is my own list, in alphabetical order (it's hard to determine ranking):

Babel
Directed by Alejandro Gonzalez Inarritu; Starring Cate Blanchett, Brad Pitt, Gael Garcia Bernal
Oscar Potential: High, Major Categories

Fresh off from victory at Cannes, this multi-cultural ensemble could have the same emotional impact and Oscar output as last year's Crash.

Eragon
Directed by Stefen Fangmeier; Starring Edward Speelers, Sienne Guillory
Oscar Potential: Low, Technical Categories (Makeup, Score, Visual Effects)

I really liked the book, but excited as I am, I'm slightly worried how this is going to turn out.

The Fountain
Directed by Darren Aronofsky; Starring Hugh Jackman, Rachel Weisz
Oscar Potential: High, Technical Categories (Costume, Visual Effects)

Looks from the trailer and poster like this is going to be a serious head trip. Very interesting premise, cast and visual aesthetics.

Gedo Senki (Tales from Earthsea)
Directed by Miyazaki Goro; Voices of Sugawara Bunta, Okada Junichi, Teshima Aoi
Oscar Potential: Uncertain (Animated Feature); is it eligible?

He's not his father Hayao, but it's now extremely unsafe to bet off Studio Ghibli from the Animated Feature race. The question is whether or not it's eligible this year. But it looks extremely well made (as should be expected from Studio Ghibli), and it's based on a fantasy classic.

The Good German
Directed by Steven Soderbergh; Starring George Clooney, Cate Blanchett, Beau Bridges
Oscar Potential: Very High, Major Categories

Another potential Oscar turn by the great Cate Blanchett, so I'm there.

Goya's Ghosts
Directed by Milos Forman; Starring Natalie Portman, Javier Bardem, Stellan Skarsgard, Randy Quaid
Oscar Potential: Very High, Major Categories

Forman returns to the big screen with a potential epic period piece about painter Francisco Goya.

Notes on a Scandal
Directed by Richard Eyre; Starring Cate Blanchett, Judi Dench, Bill Nighy
Oscar Potential: High, Acting Categories

Cate Blanchett and Dame Judi Dench, the two Elizabeths, finally together, and in a film about a teacher-student scandal.

Pan's Labyrinth
Directed by Guillermo del Toro; Starring Ivana Baquero, Doug Jones, Sergi Lopez
Oscar Potential: Low, Technical Categories (Makeup)

The trailers promise that it's going to be a feast for the eyes. I'm hoping it's much more than that and that it delivers as a superb dark fantasy piece.

The Prestige
Directed by Christopher Nolan; Starring Hugh Jackman, Christian Bale, David Bowie, Michael Caine
Oscar Potential: High, Technical Categories (Costume)

What more can you ask for than a period piece about combatting stage magicians (Jackman and Bale) directed by Christopher Nolan and pitting Wolverine and Batman against each other ?

The Science of Sleep
Directed by Michel Gondry; Starring Gael Garcia Bernal, Charlotte Gainsbourg
Oscar Potential: High, Major Categories (Screenplay)

Another potentially trippy film, from the brilliant Michel Gondry. A potential acting showcase for Bernal.

Image from Ain't It Cool News

Cinemalaya 2006

Cinemalaya, the Philippine Independent Film Festival, is running from 17 to 23 July at the Cultural Center of the Philippines. I'll have reviews of the films I've watched here soon, but I'm highly recommending Batad: Sa Paang Palay and Donsol.

Trailers at Apple.com

Great new trailers are up at Apple.com, including ones for The Prestige, a Christopher Nolan film about two warring magicians (Christian Bale and Hugh Jackman), and The Science of Sleep, another quirky film by the one who brought us The Eternal Sunshine of the Spotless Mind, Michel Gondry. This new one stars Gael Garcia Bernal. These are now among my most anticipated films of the year, a list of which I'm going to put up soon. Other notable trailers up are those of Pedro Almodovar's Volver, the female cast of which won the collective Best Actress award at Cannes, Little Miss Sunshine starring Greg Kinnear, Steve Carrell and Toni Collette, and Charlotte's Web, with Dakota Fanning, Julia Roberts, and just about everyone else in Hollywood. This promises to be a great film year.

Image from IMDb

Review: Romance & Cigarettes

Once you get past the innane musical sequences in John Turturro's Romance & Cigarettes (that's basically the first half), it's actually a decent enough film. It's a great ensemble film, with Susan Sarandon, Mary-Louise Parker, Aida Turturro, and especially Kate Winslet as Tula turning in impressive performances (does Winslet ever not?). But like I said, the first half is almost unbearable ( I was tempted several times to just turn the DVD player off), and the last half falls easily into sticky melodrama (though this is where Winslet and, in just a scene seconds long and without words, Parker, shine). If it weren't for the very capable cast, the film would be an unforgivable disaster. Grade: C+ (see how much a good cast matters?)

Review: United 93

A movie packs a greater emotional punch when you already know what tragedy will befall the characters introduced at the beginning. Paul Greengrass's United 93 is inarguably a powerful film, and Greengrass achieves this sense of familiarity and utmost sympathy with the characters without having to milk the saccharine and melodramatic for all it's worth. Packing a worthy ensemble that includes people actually involved in the real-life events playing themselves, the film quite works from beginning to chaotic then silent end. But don't expect the best acting or the steadiest camera work. In fact, if you're the type who pays attention to ever technical detail of a film to make an assessment of the whole, don't come into the theatre with such great expectations as the reviews would lead you to make. Grade: B