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films adapted from comic books have had plenty of success , whether they're about superheroes ( batman , superman , spawn ) , or geared toward kids ( casper ) or the arthouse crowd ( ghost world ) , but there's never really been a comic book like from hell before .
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for starters , it was created by alan moore ( and eddie campbell ) , who brought the medium to a whole new level in the mid '80s with a 12-part series called the watchmen .
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to say moore and campbell thoroughly researched the subject of jack the ripper would be like saying michael jackson is starting to look a little odd .
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the book ( or " graphic novel , " if you will ) is over 500 pages long and includes nearly 30 more that consist of nothing but footnotes .
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in other words , don't dismiss this film because of its source .
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if you can get past the whole comic book thing , you might find another stumbling block in from hell's directors , albert and allen hughes .
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getting the hughes brothers to direct this seems almost as ludicrous as casting carrot top in , well , anything , but riddle me this : who better to direct a film that's set in the ghetto and features really violent street crime than the mad geniuses behind menace ii society ?
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the ghetto in question is , of course , whitechapel in 1888 london's east end .
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it's a filthy , sooty place where the whores ( called " unfortunates " ) are starting to get a little nervous about this mysterious psychopath who has been carving through their profession with surgical precision .
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when the first stiff turns up , copper peter godley ( robbie coltrane , the world is not enough ) calls in inspector frederick abberline ( johnny depp , blow ) to crack the case .
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abberline , a widower , has prophetic dreams he unsuccessfully tries to quell with copious amounts of absinthe and opium .
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upon arriving in whitechapel , he befriends an unfortunate named mary kelly ( heather graham , say it isn't so ) and proceeds to investigate the horribly gruesome crimes that even the police surgeon can't stomach .
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i don't think anyone needs to be briefed on jack the ripper , so i won't go into the particulars here , other than to say moore and campbell have a unique and interesting theory about both the identity of the killer and the reasons he chooses to slay .
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in the comic , they don't bother cloaking the identity of the ripper , but screenwriters terry hayes ( vertical limit ) and rafael yglesias ( les mis ? rables ) do a good job of keeping him hidden from viewers until the very end .
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it's funny to watch the locals blindly point the finger of blame at jews and indians because , after all , an englishman could never be capable of committing such ghastly acts .
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and from hell's ending had me whistling the stonecutters song from the simpsons for days ( " who holds back the electric car/who made steve guttenberg a star ? " ) .
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don't worry - it'll all make sense when you see it .
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now onto from hell's appearance : it's certainly dark and bleak enough , and it's surprising to see how much more it looks like a tim burton film than planet of the apes did ( at times , it seems like sleepy hollow 2 ) .
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the print i saw wasn't completely finished ( both color and music had not been finalized , so no comments about marilyn manson ) , but cinematographer peter deming ( don't say a word ) ably captures the dreariness of victorian-era london and helped make the flashy killing scenes remind me of the crazy flashbacks in twi...
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oscar winner martin childs' ( shakespeare in love ) production design turns the original prague surroundings into one creepy place .
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even the acting in from hell is solid , with the dreamy depp turning in a typically strong performance and deftly handling a british accent .
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ians holm ( joe gould's secret ) and richardson ( 102 dalmatians ) log in great supporting roles , but the big surprise here is graham .
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i cringed the first time she opened her mouth , imagining her attempt at an irish accent , but it actually wasn't half bad .
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the film , however , is all good .
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2 : 00 - r for strong violence/gore , sexuality , language and drug content
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every now and then a movie comes along from a suspect studio , with every indication that it will be a stinker , and to everybody's surprise ( perhaps even the studio ) the film becomes a critical darling .
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mtv films' _election , a high school comedy starring matthew broderick and reese witherspoon , is a current example .
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did anybody know this film existed a week before it opened ?
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the plot is deceptively simple .
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george washington carver high school is having student elections .
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tracy flick ( reese witherspoon ) is an over-achiever with her hand raised at nearly every question , way , way , high .
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mr . " m " ( matthew broderick ) , sick of the megalomaniac student , encourages paul , a popular-but-slow jock to run .
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and paul's nihilistic sister jumps in the race as well , for personal reasons .
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the dark side of such sleeper success is that , because expectations were so low going in , the fact that this was quality stuff made the reviews even more enthusiastic than they have any right to be .
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you can't help going in with the baggage of glowing reviews , which is in contrast to the negative baggage that the reviewers were likely to have .
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_election , a good film , does not live up to its hype .
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what makes _election_ so disappointing is that it contains significant plot details lifted directly from _rushmore_ , released a few months earlier .
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the similarities are staggering :
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tracy flick ( _election_ ) is the president of an extraordinary number of clubs , and is involved with the school play .
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max fischer ( _rushmore_ ) is the president of an extraordinary number of clubs , and is involved with the school play .
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the most significant tension of _election_ is the potential relationship between a teacher and his student .
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the most significant tension of _rushmore_ is the potential relationship between a teacher and his student .
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tracy flick is from a single parent home , which has contributed to her drive .
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max fischer is from a single parent home , which has contributed to his drive .
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the male bumbling adult in _election_ ( matthew broderick ) pursues an extramarital affair , gets caught , and his whole life is ruined .
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he even gets a bee sting .
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the male bumbling adult in _rushmore_ ( bill murray ) pursues an extramarital affair , gets caught , and his whole life is ruined .
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he gets several bee stings .
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and so on .
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what happened ?
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how is it that an individual screenplay ( _rushmore_ ) and a novel ( _election_ ) contain so many significant plot points , and yet both films were probably not even aware of each other , made from two different studios , from a genre ( the high school geeks revenge movie ) that hadn't been fully formed yet ?
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even so , the strengths of _election_ rely upon its fantastic performances from broderick , witherspoon , and newcomer jessica campbell , as paul's anti-social sister , tammy .
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broderick here is playing the mr . rooney role from _ferris bueller_ , and he seems to be having the most fun he's had since then .
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witherspoon is a revelation .
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it's early in the year , it's a comedy , and teenagers have little clout , but for my money , witherspoon deserves an oscar nomination .
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and once campbell's character gets going , like in her fantastic speech in the gymnasium , then you're won over .
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one thing that's been bothering me since i've seen it .
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there is an extraordinary amount of sexuality in this film .
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i suppose that , coming from mtv films , i should expect no less . . .
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but the film starts off light and airy , like a sitcom .
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as the screws tighten , and the tensions mount , alexander payne decides to add elements that , frankly , distract from the story .
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it is bad enough that mr . m doesn't like tracy's determination to win at all costs , but did they have to throw in the student/teacher relationship ?
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even so , there's no logical reason why mr . m has an affair when he does .
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there's a lot to like in _election_ , but the plot similarities to _rushmore_ , and the tonal nosedive it takes as it gets explicitly sex-driven , mark this as a disappointment .
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you've got mail works alot better than it deserves to .
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in order to make the film a success , all they had to do was cast two extremely popular and attractive stars , have them share the screen for about two hours and then collect the profits .
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no real acting was involved and there is not an original or inventive bone in it's body ( it's basically a complete re-shoot of the shop around the corner , only adding a few modern twists ) .
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essentially , it goes against and defies all concepts of good contemporary filmmaking .
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it's overly sentimental and at times terribly mushy , not to mention very manipulative .
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but oh , how enjoyable that manipulation is .
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but there must be something other than the casting and manipulation that makes the movie work as well as it does , because i absolutely hated the previous ryan/hanks teaming , sleepless in seattle .
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it couldn't have been the directing , because both films were helmed by the same woman .
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i haven't quite yet figured out what i liked so much about you've got mail , but then again , is that really important ?
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if you like something so much , why even question it ?
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again , the storyline is as cliched as they come .
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tom hanks plays joe fox , the insanely likeable owner of a discount book chain and meg ryan plays kathleen kelley , the even more insanely likeable proprietor of a family-run children's book shop called , in a nice homage , the shop around the corner .
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fox and kelley soon become bitter rivals because the new fox books store is opening up right across the block from the small business .
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little do they know , they are already in love with each other over the internet , only neither party knows the other person's true identity .
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the rest of the story isn't important because all it does is serve as a mere backdrop for the two stars to share the screen .
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sure , there are some mildly interesting subplots , but they all fail in comparison to the utter cuteness of the main relationship .
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all of this , of course , leads up to the predictable climax .
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but as foreseeable as the ending is , it's so damn cute and well-done that i doubt any movie in the entire year contains a scene the evokes as much pure joy as this part does .
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when ryan discovers the true identity of her online love , i was filled with such , for lack of a better word , happiness that for the first time all year , i actually left the theater smiling .
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" jaws " is a rare film that grabs your attention before it shows you a single image on screen .
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the movie opens with blackness , and only distant , alien-like underwater sounds .
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then it comes , the first ominous bars of composer john williams' now infamous score .
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dah-dum .
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from there , director steven spielberg wastes no time , taking us into the water on a midnight swim with a beautiful girl that turns deadly .
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right away he lets us know how vulnerable we all are floating in the ocean , and once " jaws " has attacked , it never relinquishes its grip .
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perhaps what is most outstanding about " jaws " is how spielberg builds the movie .
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he works it like a theatrical production , with a first act and a second act .
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unlike so many modern filmmakers , he has a great deal of restraint , and refuses to show us the shark until the middle of the second act .
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until then , he merely suggests its presence with creepy , subjective underwater shots and williams' music .
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he's building the tension bit by bit , so when it comes time for the climax , the shark's arrival is truly terrifying .
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he doesn't let us get bored with the imagery .
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the first act opens with police chief martin brody ( roy scheider ) , a new york cop who has taken an easy , peaceful job running the police station on amity island , a fictitious new england resort town where there hasn't been a murder or a gun fired in 25 years .
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the island is shaken up by several vicious great white shark attacks right before the fourth of july , and the mayor , larry vaughn ( murray hamilton ) , doesn't want to shut down the beaches because the island is reliant on summer tourist money .
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brody is joined by matt hooper ( richard dreyfuss ) , a young , ambitious shark expert from the marine institute .
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hooper is as fascinated by the shark as he is determined to help brody stop it -- his knowledge about the exact workings of the shark ( " it's a perfect engine , an eating machine " ) make it that much more terrifying .
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when vaughn finally relents , hooper and brody join a crusty old shark killer named quint ( robert shaw ) on his decrepit boat , the orca , to search for the shark .
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