Monday, 7/21/97 Screen Scene
"Contact" Directed by Robert Zemeckis Starring Jodie Foster and
Matthew McConaughey Movies about aliens are sure getting popular.
With the success of "The X-Files" and alien flicks like
"Independence Day" and this summer’s "Men in Black," Hollywood has
once again gone crazy over those little green men. But moviegoers
expecting "Contact" to be another us-versus-those-evil-aliens movie
will be sorely disappointed. For those who enjoy a
thought-provoking, intelligent study of people and their thoughts
on the existence of other civilizations, "Contact" will surely
satisfy. From the director of the beloved film "Forrest Gump,"
Zemeckis brings another sentimental and sincere tale of an
individual whose open heart changes the world for the better. This
time, instead of a Southern boy who has a penchant to make up catch
phrases, it’s astronomer Dr. Ellie Arroway (Foster). Arroway’s
passionate curiosity about the possibility of other life forms is
the focus of the film. It shows everything from her little science
experiments as a child to her world-famous discovery of an
extra-terrestrial message from the star Vega. This discovery soon
causes a world-wide frenzy, as the United States and other world
powers are eager to discover if the message is hostile or friendly.
When the message turns out to be instructions for a space craft,
the world powers must decide whether or not to send the first alien
ambassador from Earth. Arroway wants to be that ambassador, but
ambitious scientists, politicians, and love interest McConaughey
(who happens to be a religious scholar and presidential advisor)
are trying to prevent that from happening. Her willingness to
sacrifice her life for this mission reveals her obsession/passion
for her work. With her deep voice and serious face, Foster is
completely believable as Arroway, an independent woman who is
intimidated by no one. The film is all about Arroway’s journey and
Foster’s passionate and heartfelt performance makes it easy for the
audience to follow her. McConaughey is charismatic in his role as
Reverend Palmer Joss, Arroway’s political foil and romantic
soulmate. His Southern drawl and beautiful smile makes you
understand why Foster’s character gets so distracted whenever he
enters the room. Who knew a reverend could be so damn sexy! What
makes "Contact" different and superior to most other alien films is
its realistic and intelligent treatment of science and
extra-terrestrial life. The aliens are not depicted as evil or
threatening, which unfortunately, is what their reputation seems to
be now, thanks to most science fiction films. Another important
theme that "Contact" tackles is God, and whether the increasing
discoveries in science will disprove his existence. There is
serious discussion and debate on both sides, leaving the audience
to come up with its own conclusion. With such mature treatment of
topical issues and realistic performances, "Contact" offers the
movie genre another type of science fiction film that is sorely
needed; a realistic, sentimental, sweetly optimistic one. Aimee
Phan Grade: A- "A Brother’s Kiss" Directed by Seth Zvi Rosenfeld
Starring Nick Chinlund and Michael Raynor The story of two brothers
in which one fails and the other succeeds has been done before.
Although "A Brother’s Kiss" is an emotional film, it is simple and
does not add anything to this tired formula. The film centers on
two brothers, Lex (Nick Chinlund) and Mick (Michael Raynor), the
only white boys in a predominantly black neighborhood . With an
alcoholic mother and absentee father, they persevere through the
perils of inner-city life. Until an unfortunate turn of events, Lex
is the role model and protector of Mick. In his first film project,
theater director Seth Zvi Rosenfeld creates a Tarantino-style film
that characteristically comes full circle at the end.. "Kiss" opens
with a troubled Lex making an urgent midnight phone call to his
now-policeman-brother Mick. After 91 minutes of flashbacks
Rosenfeld returns to this opening shot to explain the purpose of
Lex’s call. Rather than using a more creative means, Rosenfeld
relies on the flashbacks to develop the story. He chooses events
that shape the characters’ growth: a young Mick is raped by an
undercover cop; a young Lex goes to reform school and an older Lex
marries and impregnates Debbie (Rosie Perez, whose accent is
actually bearable in this film), a girl with no direction. Cameos
by popular indie actors Michael Rapaport, John Leguizamo and Marisa
Tomei as Mick’s cousin, drug dealer and mistress add to the film’s
appeal. But that is where the appeal ends. The film’s brevity fails
to allow the audience enough time to relate to the characters and
understand their motivations. Yet at the same time the film drags
on and on. The film’s structure allows us to watch as the brothers
evolve into young men, but the hastiness leaves out important
emotional insights. For example we assume that Mick’s childhood
rape formed his conservative, celibate adult character, but it is
never discussed. Nor is Mick and Debbie’s relationship believable.
It appears superficial – a few quick pick-up lines, a trip to the
carnival and then bam they get married, she has a baby; he gets
into drugs and she kicks him out. Also, Mick’s retreat into drugs
and alcohol is blamed on his promising basketball career. However,
this is never fully developed. All together, the story seems forced
as we wait to see what will become of the brothers. Melissa Altman
Grade: B "Star Maps" Directed by Miguel Arteta Starring Douglas
Spain, Efrain Figueroa, Lisa Flores, and Kandeyce Jensen Cruising
along Sunset Boulevard, one can see prostitutes and young men
selling star maps, but it hardly occurs to anyone that these two
jobs can be, and perhaps are, rolled into one. "Star Maps," the
screenwriting/directorial debut of Miguel Arteta, uses this premise
as a backdrop for a lackluster examination of the plight of the
Mexican actor. Admirable in its intentions and melodramatic plot,
this film showcases Arteta’s strong writing talent. But devoid of
any marquee acting talent, it promises more than it delivers.
Douglas Spain stars as Carlos, a young aspiring actor from Mexico
who is forced to peddle his body along with his star maps. Amid a
dysfunctional family, Carlos, determined to make it in show
business, faces stiff disapproval from his abusive pimp father,
Pepe (Efrain Figueroa). Kandeyce Jensen plays Jennifer, a shallow
TV actress who offers Carlos a minor stereotyped role in her
husband’s show in exchange for sex. Through glimpses into Carlos’
dreams of stardom and his mentally disabled mother’s
hallucinations, the film offers a good blend of reality and
fantasy. Stark scenes of Carlos with his clients and childhood
memories of Pepe’s violence deftly juxtapose the dark side of
Hollywood with the joy of achieving one’s dreams. The film depends
too heavily on the acting of Spain, however. In spite of the film’s
bright spots, this feature film rookie manages to undermine any
complexity that may have been written into his character. Spain’s
lackadaisical performance is painful to watch as he stumbles
lethargically from scene to scene and doesn’t try to exhibit
anything more than a scowl for tense confrontational moments. Even
when Carlos has sex for what he thinks is love, Spain maintains the
same stoic expression that plagues most of the film. As an actor
playing an actor, Spain fails to develop his character adequately.
Undoubtedly a catch-phrase for Arteta’s observations of poorly
written roles for Mexican actors, Carlos’ come-on line with
clients, "Who do you want me to be?", soon comes to describe
Spain’s apathy for the gravity of his leading role. Arteta’s use of
prostitution as a metaphor for the way Mexican actors sell
themselves short is commendable and this first film shows his
screenwriting potential. A lack of a talented cast burdens his
work, however, and one only wishes he would use a star map of his
own to find some capable actors. William Li Grade: B- "Mrs. Brown"
Directed by John Madden Starring Judi Dench, Billy Connolly and
Geoffrey Palmer Drawing from an understanding of the conflict
between social roles and individual desires, "Mrs. Brown" delivers
a plausible and sympathetic account of an unexpected relationship
between England’s Queen Victoria and John Brown. As queen, Victoria
must balance her public duties with her private needs. After her
husband Albert dies, she retreats to Windsor Castle, afraid of
running the country and being alone. John Brown, a servant from
Balmoral, Scotland is brought in to comfort her and he more than
rises to the challenge. Apart from the love story, "Brown" is also
a telling look at how power is spent, albeit pettily. Victoria’s
entourage of whispering, mouse-like subjects attest to the muting
propriety of Victorian times. It’s not surprising then that John
Brown’s apparently open, and subsequently irreverent personality,
creates a stir. His honesty lifts Victoria’s malaise and secures a
friendship that allows him to fanatically take charge of the
household in the name of Her Majesty’s protection. The cast proves
adept at balancing the gravity and humor of a well-crafted script.
Although the momentum of the story may lull at times, the witty
dialogue makes up for it by setting the sly subtlety of Parliament
against vulgar forthrightness of John Brown. Alternating scenes
between Windsor and London also add a nice touch to the dichotomy.
Dench draws out the conflict of an apparently paradoxical character
who was both a staunch matriarch and a delicate woman while
Connolly, who brings Brown to life, is a bucket of laughs for the
better part of the film. The fawning Machiavellian prime minister,
Disraeli, played by Antony Sher, is also immensely entertaining,
serving as a foil to the honest Brown. "Brown" looks at a period of
Victoria’s reign, where for a moment, the role of Queen was placed
aside and an unlikely friendship formed. Alicia Cheak Grade: A-
Warner Bros. Dr. Eleanor Arroway (Jodie Foster) receives a
mysterious message from outer space in "Contact."