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Crime Fiction Review


Weak
Here's a secret -- every writer wants his or her name to be famous.

Whether driven by popularity or a quest for validation, it's an egotistical desire that stems from the feeling that what he or she writes is important. When Crime Fiction rests on the assumption that we'll sympathize with the loathsome writer anti-hero, it couldn't be more off-putting. The reality is that no one cares about who we are as writers; they only care about what we write.

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Los Angeles film premiere of 'The Heartbreak Kid' held at Mann's Village Theatre - Arrivals

Amy Sloan Thursday 27th September 2007 Los Angeles film premiere of 'The Heartbreak Kid' held at Mann's Village Theatre - Arrivals Los Angeles, California

Amy Sloan
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Amy Sloan

The Aviator Review


Excellent
The mythology of Howard Hughes is quite possibly bigger than the man could ever live up to. Already the subject of a handful of movies and over 100 books, the particulars of the Hughes legend are widely known. But leave it to Martin Scorsese to spin the eccentric's life into a more coherent -- if sprawling -- mass.

As its title would imply, The Aviator focuses Hughes through the lens of the airplane, his greatest passion in the world. Hughes is known for many things -- business, movies, his women, hypochondria, political scandal (the lattermost is barely touched in this film) -- but it's his love of and scientific advances with aircraft that have had the most lasting effects on society.

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Head In The Clouds Review


Grim

A handsome misfire of romanticized misfortune and decadence, war and idealism, tragedy and melodrama, "Head in the Clouds" aspires to be a sweetly risqué twist on the spirit of "Casablanca." But miscast leads and ersatz emotions leave the film's soundstagey period ambiance as its most comparable asset.

Underwhelming, accent-wavering Stuart Townsend ("Queen of the Damned") stars as Guy, an aspiring young writer and political idealist who comes under the spell of Gilda (Charlize Theron), a magnetically reckless woman who lives for the moment and for pleasure, believing she's doomed to die at 34 (as per an opening-scene palm reading). Passionate but uncommitted lovers at Cambridge in the early 1930s, they meet again in Paris just before the German occupation, where their disparate values in sex and life lead their renewed affair into tumultuous territory.

Townsend and Theron (a couple in real life) are wrong for their parts, both of which call for actors who can wear their intellects on their sleeves for confrontations that are at once lusty, emotionally raw and political in nature. More appropriately cast is Penelope Cruz as Mia, another of Gilda's lovers and a sexy Spanish dancer who became crippled, then turned to nursing in the hopes of returning to her country to serve in its republican revolution.

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