One of the most endearing and intelligent romantic comedies of the '90s, the Oscar-winning Shakespeare in Love is filled with such good will, sunny romance, snappy one-liners, and... read more

One of the most endearing and intelligent romantic comedies of the '90s, the Oscar-winning Shakespeare in Love is filled with such good will, sunny romance, snappy one-liners, and devilish cleverness that it's absolutely irresistible. With tongue placed firmly in cheek, at its outset the film tracks young Will Shakespeare's overwrought battle with writer's block and the efforts of theater owner Philip Henslowe (Geoffrey Rush, in rare form) to stage Will's latest comedy, Romeo and Ethel, the Pirate's Daughter. Jokey comedy, though, soon takes a backseat to ravishing romance when the beautiful Viola De Lesseps (Gwyneth Paltrow) disguises herself as a young man to wangle herself an audition in the all-male cast, and wins both the part of Romeo and, after much misunderstanding, the playwright's heart. Soon enough, Will's pirate comedy becomes the beautiful, tragic Romeo and Juliet, reflecting the agony and ecstasy of Will and Viola's romance--he's married and she's set to marry the slimy Lord Wessex (Colin Firth) in the near future.

The way that Oscar-winning screenwriters Marc Norman and Tom Stoppard enfold their story within the parameters of Romeo and Juliet (and even Twelfth Night) is nothing short of brilliant--it would take a Shakespearean scholar to dissect the innumerable parallels, oft-quoted lines, plot developments, and thematic borrowings. And most amazingly, Norman and Stoppard haven't forgotten to entertain their audience in addition to riding a Shakespearean roller coaster, with director John Madden (Mrs. Brown) reigning in his huge ensemble with rollicking energy. Along the way there are small gems to be found, including Judi Dench's eight-minute, Oscar-winning turn as a truly regal Queen Elizabeth, but the key element of Shakespeare in Love's success rests on the milky-white shoulders of its two stars. Fiennes, inexplicably overlooked at Oscar time, is a dashing, heartfelt Will, and as for Best Actress winner Paltrow, well, nothing she'd done before could have prepared viewers for how amazing she is here. Breathtakingly beautiful, fiercely intelligent, strong-willed, and lovestruck--it's a performance worthy of Shakespeare in more ways than one. By the film's end, you'll be thoroughly won over--and brushing up your Shakespeare with newfound ardor. --Mark Englehart (hide)

Most people didn't mind Gwyneth Paltrow's English accent in this charming, 1996 adaptation of Jane Austen's novel (which also inspired Clueless). But even if it doesn't sound quite... read more

Most people didn't mind Gwyneth Paltrow's English accent in this charming, 1996 adaptation of Jane Austen's novel (which also inspired Clueless). But even if it doesn't sound quite right to you, there are plenty of authentic and wonderful Brit thespians in this film by screenwriter-turned-director Douglas McGrath (co-author of Woody Allen's Bullets Over Broadway), including Juliet Stevenson (Truly Madly Deeply), Alan Cumming (Buddy), Phyllida Law (Much Ado About Nothing), Ewan McGregor (the Scots star of Trainspotting), and Sophie Thompson, outstanding and finally heartbreaking as the chattering Miss Bates. Paltrow plays Austen's benign busybody, Emma Woodhouse--so busy trying to arrange the lives of others that she is sidestepping her own. McGrath brings a kind of pretty and light touch to the production, his best move the wise delegation of creative authority to the actors themselves. --Tom Keogh (hide)

In a fitting follow-up to Rushmore, writer-director Wes Anderson and cowriter-actor Owen Wilson have crafted another comedic masterwork that ripples with inventive, richly emotional substance. Because of the... read more

In a fitting follow-up to Rushmore, writer-director Wes Anderson and cowriter-actor Owen Wilson have crafted another comedic masterwork that ripples with inventive, richly emotional substance. Because of the all-star cast, hilarious dialogue, and oddball characters existing in their own, wholly original universe, it's easy to miss the depth and complexity of Anderson's brand of comedy. Here, it revolves around Royal Tenenbaum (Gene Hackman), the errant patriarch of a dysfunctional family of geniuses, including precocious playwright Margot (Gwyneth Paltrow), boyish financier and grieving widower Chas (Ben Stiller), and has-been tennis pro Richie (Luke Wilson). All were raised with supportive detachment by mother Etheline (Anjelica Huston), and all ache profoundly for a togetherness they never really had. The Tenenbaums reconcile somehow, but only after Anderson and Wilson (who costars as a loopy literary celebrity) put them through a compassionate series of quirky confrontations and rekindled affections. Not for every taste, but this is brilliant work from any perspective. --Jeff Shannon (hide)

Coming from the creators of Dumb & Dumber and There's Something About Mary, the sensitivity of Shallow Hal seems like a minor miracle. The codirecting Farrelly brothers haven't... read more

Coming from the creators of Dumb & Dumber and There's Something About Mary, the sensitivity of Shallow Hal seems like a minor miracle. The codirecting Farrelly brothers haven't forsaken their lowbrow inclinations, but this clever romantic fantasy offers unexpected substance with the same comedic effrontery that made the Farrellys famous. Their antihero is Hal (Jack Black), whose fixation on beautiful women is reversed (after an encounter with self-help guru Tony Robbins) so he can see only the inner beauty of "undesirables" like his new girlfriend Rosemary (Gwyneth Paltrow), now gorgeous in Hal's eyes despite being grossly obese. The movie's handling of this conundrum is sweetly sincere, poking fun at social prejudices while validating those (overweight, homely, disabled) who are often heartbroken by Hal's brand of shallowness. The concept won't hold up to scrutiny (i.e., the movie trades one set of stereotypes for another), but Shallow Hal works as an often hilarious reminder that physical beauty is only skin deep. --Jeff Shannon (hide)

Nice concept, shaky execution--that about sums up the mixed blessings of British actor Peter Howitt's intelligent but forgivably flawed debut as a writer-director. It's got more emotional depth... read more

Nice concept, shaky execution--that about sums up the mixed blessings of British actor Peter Howitt's intelligent but forgivably flawed debut as a writer-director. It's got more emotional depth than most frothy romantic comedies, and its central idea--the parallel tracking of two possible destinies for a young London professional played by Gwyneth Paltrow--is full of involving possibilities. It's essentially a what-if scenario with Helen (Paltrow) at the center of two slightly but significantly different romantic trajectories, one involving her two-timing boyfriend (John Lynch) and the other with an amiable chap (John Hannah) who represents a happier outcome. That's the film's basic problem, however: The two scenarios are so romantically imbalanced (one guy's a total cad, the other charmingly sincere) that Helen inadvertently comes off looking foolish and needlessly confused. Still, this remains a pleasant experiment, and Howitt's dialogue is witty enough to keep things entertaining. It's also a treat for Paltrow fans; not only does the svelte actress handle a British accent without embarrassing herself, but she gets to play two subtle variations of the same character, sporting different wardrobes and hairstyles in a role that plays into her glamorous off-screen persona. --Jeff Shannon (hide)

"I feel like I've been handed a new life," says Tom Ripley at a crucial turning point of this well-cast, stylishly crafted psychological thriller. And indeed he has,... read more

"I feel like I've been handed a new life," says Tom Ripley at a crucial turning point of this well-cast, stylishly crafted psychological thriller. And indeed he has, because the devious, impoverished Ripley (played with subtle depth by Matt Damon) has just traded his own identity for that of Dickie Greenleaf (Jude Law), the playboy heir to a shipping fortune who has become Ripley's model for a life worth living. Having been sent by Dickie's father to retrieve the errant son from Italy, Ripley has smoothly ingratiated himself with Dickey and his lovely, unsuspecting fiancée, Marge (Gwyneth Paltrow). In due course, the sheer evil of Ripley's amoral scheme will be revealed.

Superbly adapted from the acclaimed novel by Patricia Highsmith (also the basis of the acclaimed French version, Purple Noon), The Talented Mr. Ripley is writer-director Anthony Minghella's impressive follow-up to his Oscar-winning triumph The English Patient. Re-creating late-1950s Italy in exacting detail, the film captures the sensuousness of la dolce vita while suspensefully developing the fracturing of Ripley's mind as his crimes grow increasingly desperate. And where Hitchcock was necessarily discreet with the homosexual subtext of Highsmith's Strangers on a Train, Minghella brings it out of the closet, increasing the dramatic tension and complexity of Ripley's psychological breakdown. Phillip Seymour Hoffman and Cate Blanchett are excellent in pivotal supporting roles, and the film's final image is utterly effective: Ripley's talents have gone too far, and this study of class distinction, obsession, and deadly desire reaches a disturbing yet richly appropriate conclusion. --Jeff Shannon (hide)

Bounce has all the deft charm and breezy good looks you'd expect from a romance starring Ben Affleck and Gwyneth Paltrow, but under the surface beats the poisoned... read more

Bounce has all the deft charm and breezy good looks you'd expect from a romance starring Ben Affleck and Gwyneth Paltrow, but under the surface beats the poisoned heart of an independent film just going through the motions. Affleck plays Buddy Amaral, a successful ad exec with an empty life. In a Chicago airport, he meets Greg Janello (Tony Goldwyn), a failed playwright going home to his family and a corrupt job as a TV writer. Buddy, angling for a one-night stand with a fellow passenger, gives Greg his ticket, but feels bad when he discovers the plane crashed and the guy died. He feels so bad, in fact, that when he gets out of rehab a year or so later, he decides to give the guy's widow, real estate agent Abby (Paltrow), commission on the sale of a building for his business, a sale she's not qualified to make. They start dating. She quickly forgets her initial impression of him as a creepy stalker. Near the end of the movie, she finds out her first impression was correct and she dumps him. It's the right decision but one that the movie won't allow her to make. Instead her best friend and her kids convince her to stay with the guy. Eeeesh. Affleck is good at playing privileged and shallow, Paltrow does what she can with the prepackaged grief of a widow, Joe Morton has very little to do as Buddy's business partner (but he does it well), and Johnny Galecki shines in a very small part as Buddy's assistant. Good performances in a rather creepy film by the guy who made The Opposite of Sex. --Andy Spletzer (hide)

Director Kerry Conran's retro-themed action adventure is imbued with a singular visual sense, an ambitious marriage of Indiana Jones' serial sensibilities and the neo-Deco sci-fi trappings of Flash... read more

Director Kerry Conran's retro-themed action adventure is imbued with a singular visual sense, an ambitious marriage of Indiana Jones' serial sensibilities and the neo-Deco sci-fi trappings of Flash Gordon and Buck Rogers. Young composer Edward Shearmur is charged with bringing that pulp-visionary, past-that-never-was to musical life, a task he accomplishes with expected orchestral verve. Its music that's as unabashedly derivative as the film's grab-bag of 1930s/40s influences, yet arranged and executed with a rich orchestral palate and an endlessly energetic dynamic sense. While he deftly avoids walking too closely in the familiar musical footsteps of John Williams---and there are admittedly no themes here as instantly memorable as Raiders of the Lost Ark's signature march---Shearmur manages a few smart new themes of his own, breathing compelling new life into one of filmdom's most cliched genres---and trumping previous similar back-to-the-future adventure scores like James Horner's The Rocketeer the bargain. --Jerry McCulley (hide)

Annette Bening is the stand-out highlight in this dysfunctional "family" comedy based on the bestselling memoir by Augusten Burroughs. Although fans of the book may be slightly disappointed... read more

Annette Bening is the stand-out highlight in this dysfunctional "family" comedy based on the bestselling memoir by Augusten Burroughs. Although fans of the book may be slightly disappointed with the film's uneven and somewhat campy rendition of Burroughs' twisted adolescence in the 1970s, there's plenty of pleasure to be found in the work of an excellent cast led by Bening, who gives a subtle dare-to-hate-me performance as Burroughs' mother Diedre, a would-be poet who's so aloof about her teenage son Augusten (played by fresh-faced newcomer Joseph Cross, from Flags of Our Fathers) that she allows him to be legally adopted into the eccentric family of her psychiatrist, Dr. Finch (Brian Cox). As the half-crazed Finch overmedicates Diedre into a haze of semi-conscious madness, he also turns Augusten's life upside down while his wife (Jill Clayburgh) and daughters (Gwyneth Paltrow, Evan Rachel Wood) indulge their own eccentricities and Augusten enters into an intimate relationship with one of Finch's adopted patients (played by Joseph Fiennes).

As adapted and directed by Nip/Tuck creator Ryan Murphy, Running with Scissors lacks the singular voice of Burroughs' dryly comedic first-person narrative, but even as the film struggles to find a consistent tone, it's so full of wacky behavior that you can't help laughing. It's a messy, patchwork quilt of a movie, blessed by authentically garish '70s production design and a soundtrack of familiar '70s hits. In rendering Burroughs' indelible portrait of weak, irresponsible adults and the people they victimize, Murphy and his well-chosen cast (which also includes Alec Baldwin as Diedre's ex-husband) find moments of touching pathos amidst the madness. For her part, Bening delivers an acclaimed performance that gives the film a dramatic weight it otherwise lacks. The rest is for anyone who enjoys a laugh at the freak-show expense of damaged and damaging characters. --Jeff Shannon

Stills from Running with Scissors (click for larger image)

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Modern love and classic romantic passion meet in this lush adaptation of A.S. Byatt's brilliant novel. Academics Roland Michell (Aaron Eckhart) and Maud Bailey (Gwyneth Paltrow) are experts... read more

Modern love and classic romantic passion meet in this lush adaptation of A.S. Byatt's brilliant novel. Academics Roland Michell (Aaron Eckhart) and Maud Bailey (Gwyneth Paltrow) are experts on the work of two different Victorian poets. As they pursue a possible connection between their subjects, the two sleuths begin to stumble toward a romance of their own. Though it necessarily loses some of the depth of Byatt's original, Possession is a worthy adaptation, faithful to the book in both story and spirit. Director Neil LaBute uses clever and visually elegant methods of switching back and forth between time periods, subtly contrasting the prickly moderns and the swoony Victorians without making either pair seem unappealing. The movie also does an excellent job of capturing the exhilaration (and the politics) of intellectual discovery, and feels truly romantic without ever getting icky. Though Paltrow and Eckhart both succeed as the modern leads, the real standouts are Jeremy Northam as Randolph Henry Ash and Jennifer Ehle as Christabel LaMotte. Their passion gives the movie its romantic core and makes the whole search worthwhile. --Ali Davis (hide)

Elegantly adapted from David Auburn's Pulitzer Prize-winning play, Proof works on so many levels that it shines like a perfected equation. Gwyneth Paltrow previously played her role onstage,... read more

Elegantly adapted from David Auburn's Pulitzer Prize-winning play, Proof works on so many levels that it shines like a perfected equation. Gwyneth Paltrow previously played her role onstage, and returns here as Catherine, the troubled 27-year-old daughter of Robert, a once-brilliant mathematician (Anthony Hopkins, appearing in flashbacks and imagined visions) who has recently died. What Robert has left behind is an emotionally challenging legacy of genius, mental illness, and unfinished business in the Chicago home where Catherine had cared for him during his erratic final years. Catherine fears she may have inherited her father's unstable condition, and her sister Claire (Hope Davis) arrives from New York with smothering concern and a selfish but well-meaning agenda, while Robert's student and assistant Hal (Jake Gyllenhaal) hopes to find lasting proof of Robert's enduring genius in the piles of notebooks he left behind. Steeped in the authentic atmosphere of advanced academia, revelations of love, fear, regret, and potential recovery unfold with such graceful complexity that Proof plays like a thriller, with all the action taking place in the admirable hearts and minds of its characters. The film also has a lot to say about the potential tragedy of assuming mental illness where none exists, while leaving just enough doubt to keep you wondering -- a tribute to the exceptional performances of a first-rate cast, and particularly to Paltrow, whose reunion with Shakespeare in Love director John Madden proves equally rewarding for entirely different reasons. --Jeff Shannon (hide)

The husband (Michael Douglas) is a currency trader whose portfolio value is going right down the drain. The wife (Gwyneth Paltrow) is the heiress to a $100 million... read more

The husband (Michael Douglas) is a currency trader whose portfolio value is going right down the drain. The wife (Gwyneth Paltrow) is the heiress to a $100 million fortune. The marriage is not a happy one, but the promise of long-term affluence keeps them together. The wife pursues an affair with an artist (Viggo Mortenson) who gives her all the passion she doesn't get at home, and when the husband finds out, well ... someone's going to pay with their life. Who will the unlucky one be? We wouldn't dare spoil the elegant plot twists of this devious thriller, but it's well known that Douglas excels at portraying greedy characters with ice in their veins. Here, it's easy to assume that Douglas has pulled off, as the title implies, a killing that nobody will ever pin on him. But this is the kind of glossy thriller (loosely inspired by Alfred Hitchcock's Dial M for Murder) that delights in disrupting your expectations, so it grabs your attention right up to the final scene. It's a bit too cold to really draw you in (hey, these are not very nice people we're dealing with here!), but with its able cast and stylish direction by Andrew Davis, this less-than-perfect murder thriller is still definitely worth a look. The widescreen Special Edition DVD includes audio commentary by Michael Douglas, Andrew Davis, and producer Peter McGregor Scott, an alternate ending deleted from the finished film, and sketches by the film's costume designer. --Jeff Shannon (hide)

The key ingredient in this modern-day version of Charles Dickens's classic is director Alfonso Cuarón, who made the glowing, estimable A Little Princess. If you saw that (and... read more

The key ingredient in this modern-day version of Charles Dickens's classic is director Alfonso Cuarón, who made the glowing, estimable A Little Princess. If you saw that (and you should), understand that Expectations has those ingredients (great sense of time, place, and timing) but adds modern music and sex appeal; the latter personified by the long-legged Gwyneth Paltrow.

Finnegan Bell (Ethan Hawke as an adult, Jeremy James Kissner at age 10) is the new version of Dickens's Pip. He's a child wise beyond his years, befriending an escaped convict (Robert De Niro) in the warm waters of Florida's Gulf Coast. Finn is also the plaything for Estella (Paltrow as an adult, Raquel Beaudene at age 10), the niece of the coast's richest and most eccentric lady, Ms. Dinsmoor (a fun and flamboyant Anne Bancroft). The prudish Estella likes Finn (catch the best first kiss scene in many a moon) but has been brought up to disdain men; she'll break hearts. As the object of Finn's desires, Estella unfortunately is a one-dimensional character, yet what a dimension! Clad in Donna Karan dresses and her long, sun-kissed hair, Paltrow is luminous. She and Hawke make a very sexy couple.

Mitch Glazer's script does better by Finn. He's a blue-collar worker with a gift for drawing (artwork by Francesco Clemente). Following his Uncle Joe's (Chris Cooper) honest ways, Finn grows up as a fisherman, thoughts of Estella and art drifting away in the hard work. When a mysterious benefactor allows him to follow his dream, Finn finds himself in New York, preparing for a once-in-a-lifetime art exhibit--and in the arms of the engaged Estella.

Filled with cinematographer Emmanuel Lubezki's golden-drenched light, the film has an irresistible, wildly romantic look. Dinsmoor's place is certainly gothic, Estella and Finn's longing encounters glamorous. Cuarón uses an MTV-friendly soundtrack with a confident touch. Songs by Tori Amos and the band Pulp--along with Patrick Doyle's silky score--create passionate scenes. It all ends far too swiftly with a seemingly tacked-on ending (reflecting the book, as it happens) but the film is splendid storytelling. It's a stylish, sweet valentine. --Doug Thomas (hide)