One Hour Photo

One Hour Photo uses Robin Williams as a tour guide through an introspective, chilling view on the philosophy of a photograph. His tools on this journey include loneliness, isolation, envy, and a generally creepy sensation like someone blowing gently on the back of your neck. Williams turns in a dually sympathetic and frightening performance in a film that succeeds or fails based on his performance. When it works, it will have you seriously considering your own personal dark room, but when it occasionally doesn't, it resorts to some typical movie tricks instead of flying over the edge that it creeps towards and teasingly crosses. Either way, you will never look at a photograph, or the people who develop them, the same way again.

Williams, decked out in a cropped blond hairdo, is Seymour "Sy" Parrish, a photo-processing technician at a local Wal-Mart style store. He is genial, friendly, sociable and seems to know just a bit too much about one of his customers. The Yorkins, on initial appearance, would seem to be the happy American family. He is the owner of a design company, and she is the loving housewife and mother of their son Jake. An underlying message in the film is that appearances aren't always as they seem. And that is indeed the case with both Sy and the Yorkins. The remainder of the film deals with Sy's ever-growing attachment and obsession with his perception of perfection, while their perfection seems to crumble outside the frames of the deceptive photographs. As it is with similar films that deal with the natural horrors that exist around us (Panic Room, etc.), One Hour Photo taps into the vein of our psyche and slowly injects the paranoia inside us until it fills without us realizing and grips us beyond our control. Even though the final act plays out a bit too expectedly, the overwhelming feeling of fear, discomfort, insecurity and even pity, pervade into our subconscious. There is a chilling tone throughout One-Hour Photo that is obviously told by a patient, but impassioned teller. Had director/screenwriter Mark Romanek simply let things play out naturally, instead of slightly tainting things with one little trick, this could have been a natural horror movie to rival any of the classics. Instead, he has still given us a vehicle to ride through our most paranoid fears, with Williams as the capable driver.

Ever since he broke onto the screen 23 years ago, Robin Williams has had a devilish potential inside him. His characters, who range from comical and manic (Mrs. Doubtfire, The Birdcage) to subtle and charming (Patch Adams, Bicentennial Man) to dramatic and powerful (Dead Poets Society, Good Will Hunting) have taken a darker turn this year, and we are all the better for it. The smirk, the rapid-fire delivery, the laugh, all held hope for something maniacal, similar to Jim Carrey who took his to a new level as the Riddler (a role Williams was up for coincidentally). However Romanek succeeds where Death to Smoochy failed because not only is the humor gone, but seemingly all of Williams other emotions have been contained and compacted into a package that seems ready to explode at any time. The meticulous nature of his habits, the starkness of his house, offset by a back wall that will downright send shivers down your spine, all help Williams raise this film above the norm and should generate some consideration for Williams come Oscar time.

Ultimately, One Hour Photo is a disturbing, yet surprisingly ordinary look inside the lonely, desperate world of obsession and perception. Photographs are moments in time, frozen for remembrance for whatever reason, be it celebratory, revelatory or just to recall and hold onto an emotion and feeling. Tapping into the naturally occurring fears of society is something Hollywood rarely does. Hitchcock was a master of it and no one has consistently come close since then. With this film, Romanek shows the potential and generates a genuinely scary slice of life with his ability to show a slice of reality, namely the capturing of moments with photographs. The film explores the philosophy of this by exposing the one-dimensional aspect of them, along with the origin of the word snapshot (from hunters who accidentally succeeded by shooting quickly) and combining these into a character exploration that is unnerving, creepy and downright spooky in how close it hits home. Williams's dark, edgy performance is award worthy; unfortunately this does not carry over into some parts of the film which lapse and drift into areas that weren't necessary in order to make the point. Still, Romanek has succeeded in tapping into the potential of Williams to creep us out, while still making us feel sorry for him and in the end, leaving with emotions and appearances that aren't as clearly focused as we would expect them to be.

Simone

"It's easier to convince 100,000 people than just one"

One of the biggest musical surprises, not to mention one of my favorite songs, of last year was the song "Clint Eastwood" by a band called the Gorillaz. The song itself was an anthem of sorts about someone finding themselves and realizing their worth and potential as a person. The song was soulful, funky and catchy with a hook for a chorus and a snappy drumbeat that won over critics and had them asking, "Who are the Gorillaz?" Adding to the mix was a unique music video done with all anime representations of the band members. So just who were they? Well, the Gorillaz, as a fleshy group, do not exist. They are the brainchild of a couple of music producers and musicians (most notably Del the Funky Homosapien). In Simone, Andrew Niccol takes this premise one step further and to the side. He has created a film and a star that makes a deep social commentary on how quickly and easily that the public will latch onto the "next big thing". Held together by yet another amazing performance by the real Al Pacino, Simone will have you taking a second look at those idols that you worship, and the way you do.

"Our ability to create fraud has far surpassed our ability to detect it"

Victor Taransky (Al Pacino) is a director in the twilight of his career, struggling to hold onto his self-respect, his craft, his marriage and his senses. After being told that he is being released from his studio, Victor encounters a crazed man who provides him with just what he needs to survive; a computer program that creates a virtual person who for all intents and purposes seems real. Armed with this technology, he creates Simone (Simulation One) whom he has complete control over and is very guarded about as well. Although she exists only in pixels and on a computer screen, Victor is given new life by living and rebuilding himself through Simone who gives all appearances of actually existing. From here, the story stumbles through some expected situations, near misses and such, until it hits stride briefly again and then falls once again in conclusion. In the current state of things, a virtual movie star would not be unheard of, or difficult to imagine. Everything that the film does is possible and the reactions are reflective of a society ready to grab onto the next big thing and ride it out. The script is rife with sharp one-liners about idol worship and the expeditious nature that stardom can come and go based on public appeal and fervor. It appears that he came up with these first then built a script and story around them. This shows through in some transition scenes that lag and reflect a slight sense of desperation at times, to get from one insightful thought to the next. The film is still enjoyable, but maybe the impact and depth of the message gets lost or diluted a bit in trying to get all the storylines to work out. I must admit though that he did kind of get me with the conclusion.

Pacino would be fun to watch if he was hawking laundry detergent or breath mints. This role just adds to his diverse repertoire. His haggard look offsetting the manic nature that is going on inside him, he is in wondrous form here once again, as he struggles to keep his secret and his sanity. I'm sure after the intense, emotional performance in Insomnia, Pacino needed a break and Simone is definitely it. The remainder of the cast is fairly faceless, despite the presence of big-name stars. Catherine Keener softens her cold-hearted bitch mode just a tad but is a decent contrast, while Evan Rachel Wood as his daughter does bring a ray of sunshine to things. Pruitt Taylor Vince and Elias Koteas are representative of what does not work in the film, since they seemingly blend into the background of a movie that has deep messages wrapped in a vainly shallow package.

Ultimately, Simone is an entertaining, occasionally thought-provoking critique of just how quickly and easily people will grab hold of something and how it can in turn take control of them. Niccol has always shown a knack for making us question what is real and what isn't (the best example is of course The Truman Show) and Simone is no different. Granted, Simone does not come near the impact or fluid nature of Truman, but it touches on some of the same issues. Do we really become so enamored over something or someone that we are willing to suspend reality and believe the seemingly unbelievable? Think about it, how often have we justified actions or quirks because of an emotional attachment or bond of some sort? In personal relationships as well as in our admiration of heroes, we can be so forgiving of eccentricities that we may even become blind or doubtful of the truth when it is presented to us, whatever form it may take. With Simone, Niccol has shown why he may be one of the sharpest observers of the human condition, and the effects that questioning reality can have. While it is far from perfect, as most people are, it is adequate and admirable in its efforts and intentions. And no, I'm not going to tell you if Simone is indeed real or an actual computer generation, because I wouldn't want to feed any rumors or speculation. Just see it for yourself, think for yourself, and make your own decisions.

While the obvious similarities to a certain imprisoned, temperamental, well-known boxer who was accused of rape, are not blatantly stated, there is no denying that they are present and were an inspiration into the basic storyline of Undisputed. But director Walter Hill takes these characterizations and molds them into a tightly compelling drama which touches on the aspects of the psychology behind boxing and shows that amidst the big money sequels and special effects laden faire that litters the summer movie schedule, an underdog can sneak in and shine loud and proud.

As if it was ripped from the headlines, the story of Undisputed is a familiar one. George "Iceman" Chambers (Ving Rhames) is the heavyweight champion of the world, undefeated, feared and revered worldwide. But as he states, with fame comes everyone gunning for you, figuratively and literally. He is accused of rape and imprisoned in an isolated California prison known as Sweetwater. This prison is for the hardest of the hardened criminals, so as not to "taint the rest of society". Sweetwater is also the home of Monroe Hutchen (Wesley Snipes), an up and coming fighter who was incarcerated for beating a man to death in a jealous rage. Inside, Hutchen has become the champion that he never got to be on the outside. After 10 years, he is also undefeated, unchallenged and respected. The path of the story is inevitable, but the points that it makes and the way that it gets there is what makes Undisputed so good. There is a parallel between boxing movies and prison movies. Each is usually about men overcoming odds or obstacles using strength; be it physical or mental. Undisputed touches on both, but never dwells on either, thereby finding the balance to tell a story, make a social commentary, and still give us a conclusion to root and cheer for, even if we know its coming.

Ving Rhames is such a menacing cinematic presence, it's a wonder he doesn't get typecast more than he does. As Chambers, he hearkens back to his roles where his ego and physical presence fueled a genuine intimidation and awe factor that made it next to impossible to take your eyes off of. But he is much deeper and much more talented than just his looks. As he showed in both Pulp Fiction and Only in America, Rhames can combine the physical and mental aspects (witness his rebuttal to calling boxing a sport, and about how everyone wants a piece of him) into performances that are truly unforgettable. Snipes is almost the antithesis of Rhames in this film, never raising his voice or getting worked up, but still commanding and demanding of attention. Once again Wesley has discovered his acting ability and shows that intimidation can come from being calmly confident as well. These two performances show the contrasting and conflicting personalities that exist not only in boxing, but also in everyday survival of the fittest. The cameos and supporting roles add flavor but never become distracting to the story. From a wisecracking ring announcer (rapper Ed Lover) to yet another Peter Falk turn as an aging mobster with a boxing obsession and selective remembrance, to Jon Seda, Wes Studi and Fisher Stevens (as the sidekicks of the three major players) to Michael Rooker as a gung-ho warden, Hill has added the perfect touches to a simple story and made Undisputed a memorable experience that will have you cheering in appreciation and admiration.

Ultimately, Undisputed is one of the best movies of this summer that you may never have heard of but that everyone should experience. There have been numerous boxing movies made, and it never ceases to amaze me as to the different aspects and ways that directors make something simple and predictable seem fresh and entertaining. Hill uses his fancy film making skills, including black and white photography, prison maps, documentary style character introductions and some well placed cameos, to craft a film that speaks to society in regards to how we view these modern-day gladiators. The film never patronizes or glorifies their actions, but is well aware of the power that these men can have. Instead, Hill keeps it simple, using the side stories to add flavor rather than distract, and fueled by this and strong performances from Snipes, who has discovered he can act and be intimidating again, and Rhames, who revels in his arrogant tough-guy mode ala Marcellus Wallace, gives Undisputed the title of biggest surprise of the summer, if not one of the best films.