Where to begin...
This movie should be the dream of any sociology-minded person. It analyzes the best and worst aspects of humankind. Unless you're emotionally dead inside, you'll find yourself laughing, crying, and oft times pitying...but most of all you'll see yourself, as in the ten shorts you're bound to find a character you can relate with.
My least favorite segments had to be "Love on the A Train," "The Listeners," and "The 5:24." Typically Steve Zahn and Jerry Stiller can do it for me, but this short is all business, literally. You half expect when you see the both of them together that it's going to be a comedy, but you leave the segment disappointed that you didn't get what you expected. This is "5:24" in a nutshell.
"Love on the A Train" is by far the most risqué of the shorts, but it's done in a fashion that still makes it viewable to even the most puritanical of people. It's also the first time Rosie Perez has ever looked genuinely sexy to me. For people who AREN'T fans of her, you don't have to worry about dialog.
I've always been somewhat drawn to Lili Taylor for some odd reason, which is why I had a lot of hope for "The Listeners." Unfortunately, it didn't have the bite of the other scenes. There could have been some real development there, but since these are based on true stories, any alterations to make them seem more cinematic would have taken away from the "reality" these shorts try (and on a lot of levels succeed) to convey.
I didn't list "The Red Shoes" simply because I was of a mixed mind about it.
I absolutely love Denis Leary (man has the best hair in showbiz, I think - plus having a love scene with a topless Liz Hurley in Double Whammy elevates him to "God" status in my eyes), and Christine Lahti commands attention. I didn't like the sketch because it was poorly done...I didn't like the sketch because it deals with a subject matter you can quite easily relate with on a grotesque level. Let's just say one thing of Lahti's dialog might be true by the time the segment ends.
"The Red Shoes" ties in nicely with "Fern's Heart of Darkness." Both segments force you to look at a part of yourself you don't wear on your sleeve.
I wasn't a particular fan of Honey-Getter but I can't knock Ajay Naidu. The guy was Samir in Office Space, which automatically exonerates him of any bad roles or performances. If I talked bad about him I could never watch the movie again, and that would be a travesty.
Now, onto those I absolutely loved:
"Sax Cantor Riff" was gorgeous. It draws you in with a mediocre beginning with a mediocre start (even though it includes Sam Rockwell, a fledgling actor back then who's moved onto greater things - Charlie's Angels not withstanding). Then you're exposed to one of the most beautiful scenes and sounds in the movie (which was so initially shocking to me the first time I saw this that it brought tears to my eyes), followed immediately by something that attempts to convey something only the educated will understand. Absolutely phenomenal.
Mercedes Ruehl's character in "Underground" should be proof enough that older women can still be incredibly sexy. She was 49 when this was released in 1997, but you can't really tell. "Underground" is probably one of the shortest pieces, but it's very expressive - even though you're left to wonder at the end if anything illegal actually took place.
Lastly, since I don't want to come off as pathological about this movie, "Manhattan Miracle" was extraordinary. I've always been an extraordinary fan of Gregory Hines, and this segment shows you that there is a lot more to acting than just remembering your lines.
See this. You won't forget it.
This movie should be the dream of any sociology-minded person. It analyzes the best and worst aspects of humankind. Unless you're emotionally dead inside, you'll find yourself laughing, crying, and oft times pitying...but most of all you'll see yourself, as in the ten shorts you're bound to find a character you can relate with.
My least favorite segments had to be "Love on the A Train," "The Listeners," and "The 5:24." Typically Steve Zahn and Jerry Stiller can do it for me, but this short is all business, literally. You half expect when you see the both of them together that it's going to be a comedy, but you leave the segment disappointed that you didn't get what you expected. This is "5:24" in a nutshell.
"Love on the A Train" is by far the most risqué of the shorts, but it's done in a fashion that still makes it viewable to even the most puritanical of people. It's also the first time Rosie Perez has ever looked genuinely sexy to me. For people who AREN'T fans of her, you don't have to worry about dialog.
I've always been somewhat drawn to Lili Taylor for some odd reason, which is why I had a lot of hope for "The Listeners." Unfortunately, it didn't have the bite of the other scenes. There could have been some real development there, but since these are based on true stories, any alterations to make them seem more cinematic would have taken away from the "reality" these shorts try (and on a lot of levels succeed) to convey.
I didn't list "The Red Shoes" simply because I was of a mixed mind about it.
I absolutely love Denis Leary (man has the best hair in showbiz, I think - plus having a love scene with a topless Liz Hurley in Double Whammy elevates him to "God" status in my eyes), and Christine Lahti commands attention. I didn't like the sketch because it was poorly done...I didn't like the sketch because it deals with a subject matter you can quite easily relate with on a grotesque level. Let's just say one thing of Lahti's dialog might be true by the time the segment ends.
"The Red Shoes" ties in nicely with "Fern's Heart of Darkness." Both segments force you to look at a part of yourself you don't wear on your sleeve.
I wasn't a particular fan of Honey-Getter but I can't knock Ajay Naidu. The guy was Samir in Office Space, which automatically exonerates him of any bad roles or performances. If I talked bad about him I could never watch the movie again, and that would be a travesty.
Now, onto those I absolutely loved:
"Sax Cantor Riff" was gorgeous. It draws you in with a mediocre beginning with a mediocre start (even though it includes Sam Rockwell, a fledgling actor back then who's moved onto greater things - Charlie's Angels not withstanding). Then you're exposed to one of the most beautiful scenes and sounds in the movie (which was so initially shocking to me the first time I saw this that it brought tears to my eyes), followed immediately by something that attempts to convey something only the educated will understand. Absolutely phenomenal.
Mercedes Ruehl's character in "Underground" should be proof enough that older women can still be incredibly sexy. She was 49 when this was released in 1997, but you can't really tell. "Underground" is probably one of the shortest pieces, but it's very expressive - even though you're left to wonder at the end if anything illegal actually took place.
Lastly, since I don't want to come off as pathological about this movie, "Manhattan Miracle" was extraordinary. I've always been an extraordinary fan of Gregory Hines, and this segment shows you that there is a lot more to acting than just remembering your lines.
See this. You won't forget it.