Reviews

"Mrs Henderson Presents" is directed by Stephen Frears, with the same wry, sure touch for comedy and place he brought to "The Snapper." It doesn't hurt that Judi Dench and Bob Hoskins, who co-produced, are the leads. They're in top form, with delicious material that is based on a true story. It begins in London in the Thirties. Laura Henderson (Dench), decides to buy a music hall rather than use her recent, substantial inheritance for charitable good works. The man she hires to manage her enterprise, Vivian Van Damm (Hoskins) agrees on the condition that she cannot interfere, though she tries repeatedly. Some of the best scenes in this always-entertaining movie revolve around their disagreements. Success eludes them until they replace the music hall with a nudie review.

Sets, costumes, and witty dialog capture the look and feel of upper crust London. Christopher Guest has a small but significant - and quite funny - role as a person vital to the review's success. Mrs. Henderson's true reason for her enterprise is eventually revealed, and it brings a bittersweet moment during the London Blitz. This delightful story played to an appreciative audience at the Austin Film Festival.

Frears seems able to helm any story well. The look and tone is as far from "The Grifers" or "Dirty Pretty Things" as you can get - but the story is equally compelling. Credit for the sparkle must also be given to writer Martin Sherman, who also wrote "Bent" and "Callas Forever." Whatever mood you're in when this film opens, you'll leave with a smile.

This Belgian film was titled "The Memory of A Killer" when it played in Austin in September. Known in Europe as "The Alzheimer Case," it's a police procedural about an aging hit man with early Alzheimer's who agrees to complete what he knows is his last assignment. Movies featuring a character with Alzheimer's are often somber, bittersweet weepers. "The Memory of a Killer" is nothing like that.

It's a taut, fast-paced noir with a protagonist who lives by the same code as that of Alain Delon in Jean Pierre Melville's "Le Samourai" or Jean Gabin in "Touchez Pas Au Grisbi." The hit man Angelo Ledda is portrayed by Belgian actor Jan Decleir. He won his country's top acting award and other European festival honors for his nuanced, empathic performance.

How Ledda knows what's happening to his mind is explained in a way totally credible to anyone who has known someone suffering from this disease. Even as his mind slips away, he retains his morality about certain crimes and that code eventually sends him in directions that surprise and anger his employer. Ledda's crimes and related crimes drive two police investigators - and Ledda - in a race against time. The plot threads become as tangled and mysterious as the tangles in Ledda's diseased mind and unravel in a stunning conclusion.

This film was made by Belgian director Erik Van Looy, whose stylish work won top honors along with Decleir. The film is based on the novel "De Zaak Alzheimer" by popular Belgian detective novelist Jef Geeraerts. Hopefully, it and his other novels will be translated into English. Geeraerts' psychological approach evokes another Belgian writer, the incomparable Georges Simenon. This is the first of Geeraerts' stories to reach the big screen, and Hollywood has bought the rights to a remake. Don't wait; see the original. Decleir's portrayal should not be missed.

"The Matador" stars Pierce Brosnan as a burned out assassin. He's James Bond gone to seed, in too-tight, garish clothes, gold chains, and an ugly haircut. Our struggling assassin, Julian Noble, is in Mexico, trying to regain his nerve. Staying at the same hotel is a likable, down-on-his luck businessman Danny Wright (Greg Kinnear), also trying to regain his equilibrium. Danny is desperate to close a deal and return to his wife in Denver (Hope Davis) with good news.

Noble and Wright unexpectedly become friends. Wright convinces Noble to reveal certain techniques, which he demonstrates at a bullfight. Noble is eventually targeted by his employers and shows up in Denver.

Writer and director Richard Shepard did the Q&A after this delightful movie at the Austin Film Festival. Shepard was also down on his luck. After suffering the loss of his agent and rejection of recent scripts, he decided to write a story no one would buy and create a character no one would want to play. Then Pierce Brosnan called. Brosnan regains his equilibrium in this movie. (There is life after Bond!) He has a wonderful flair for self-deprecating comedy. Don't miss it.

Stay for the closing credits to read what the filmmakers say about bullfighting. I look forward to more of Richard Shepard's projects.

Take the sardonic wit of "Prizzi's Honor" or "Body Heat." Combine with not-too- bright characters working a shady deal for quick riches in a caper that could have been written by Elmore Leonard. That's what you have in "The Ice Harvest," a highly entertaining dark comedy.

It's Christmas Eve during a terrible ice storm in Kansas City. Charlie (John Cusack) and Vic (Billy Bob Thornton) have stolen a bundle from the mob. This could create an awkward situation for Charlie if they don't get out of town fast. He's the lawyer for the local mob boss, Bill (Randy Quaid), who has a terrible temper.

So as not to arouse suspicion, Vic and Charlie go their separate ways early in the evening. Both have family duties and Charlie has other things to take care of. There's the beautiful Renata (Connie Nielson), for one. And Pete (Oliver Platt), who shares part of Charlie's past. Life becomes more complicated as the night goes on and Charlie meets up again with Vic. More twists and surprises follow.

I almost didn't go to this movie, because the teaser for the Austin Film Festival made it look like a Cusack-Thornton buddy movie, and I'm tired of the character Thornton keeps playing. Happily Thornton is not on screen much. This is John Cusack's movie and he has created an interesting, unhappy man looking for a way out. Oliver Platt, who steals every scene he's in, provides comic relief and story exposition.

Director Harold Ramis introduced the film and did a Q&A afterwards. He talked about how the snowstorm in the book became an ice storm because that's the weather they had to work with. He talked about the many ideas Cusack and Platt brought to their characters. New to me was Connie Nielson, originally from Denmark. Ramis said she told him she was channeling Jessica Rabbit in the part of the femme fatale. I think she succeeded. Kudos also to Pulitzer-prize winning author Richard Russo and Robert Benton for a snappy script.

How do we honor those we love? What kind of therapy can words provide?

I didn't understand the title of this movie but was eager to see it at the Austin Film Festival because it features such an exceptional cast. Campbell Scott, Peter Sarsgaard, and Patricia Clarkson consistently do interesting work and are appearing together for the first time. "The Dying Gaul" is one of the best movies I've seen in awhile.

In one of the first scenes Robert (Peter Sarsgaard) elaborates on the title of his screenplay, "The Dying Gaul," with studio executive Jeffrey (Campbell Scott.) The screenplay and its meaning to the writer becomes a catalyst for the story that unfolds.

This story of lust, manipulation, betrayal, and revenge is - not surprisingly - set in the Hollywood of 1995. But it's a story that could take place elsewhere, it just wouldn't be as captivating or beautifully photographed - and there are some lovely and interesting scenes and unusual close-ups.

Robert has turned the loss of his partner to AIDS into a screenplay that studio executive Jeffrey will pay top dollar for, with one significant change. Jeffrey's wife Elaine (Patricia Clarkson), also a screenwriter, adores the original script. She is drawn to Robert and wants to know more about the forces that influenced his talent. Her shocking discovery propels the story in unexpected ways.

Don't leave until the credits roll or you won't know who screenwriter and director Craig Lucas dedicates his story to. You may think about it in a different light. Lucas also wrote the screenplays of two other movies I liked very much: "The Secret Lives of Dentists" and "Longtime Companion." He is quite good at exploring the mysteries of the heart and dynamics of relationships. Don't miss this movie. I intend to see it again.

I saw this movie at the Austin Film Festival and it left me cold and totally confused. It's beautifully photographed but that's not enough. I went to the screening knowing the movie was based on a book loved by several of my friends. There is no story in this movie, I'm sorry to say. Scenes need to be added so the audience knows what is going on. I certainly didn't.

This seems to be the story of a dysfunctional family. The father is self- absorbed. At home he appears most interested in discussing the Torah and joining with his son in playing classical pieces together. When his daughter begins winning spelling bees, the father focuses on her and in devising ways to help her win more bees with strategies that I think - but am not sure - involve a better understanding of the Torah. The mother is troubled and has a secret that is eventually revealed and shocks everyone. There are other subplots.

We are supposed to care what happens to this family and I wanted to, but the story is such a mishmash I felt only irritation. At the end of the movie I had no idea why a surprising decision was made. I later discussed the movie with a friend who had read the book and could clarify the surprise decision, but that's not enough for a moviegoer.

A talented cast has been wasted. Co-directors Scott McGehee and David Siegel's last effort, "Deep End," with the wonderful Tilda Swinton, was one of my favorite films in 2001. They lost control of whatever story they were trying to tell in "Bee Season."

The Woodsman played on opening night at the Austin Film

Festival. I probably would not have gone if Kevin Bacon had not

been the lead actor, as I greatly admire and respect his work. I

was not disappointed. Without condoning pedophilia in any way,

this film brings the audience into the story from the point of view of

someone struggling with his past after doing time in prison.

What is it like to struggle with this, to know or work with someone

like this?

It's a story most of us would rather not think about too much, but in

the hands of all involved it is honest, tasteful, and moving. It is

well-paced without being showy or melodramatic. Kudos also for

the elegant photography and editing. While the entire cast is

excellent, Mr. Bacon is superb, revealing much with his eyes.

This may be the best film I've seen this year. I expect to see it

again.

This movie combines bollywood and the overheated romantic advice found in Cosmopolitan Magazine.

Take those ingredients and stir in the questions an immigrant might have after being thrust into the dating scene in a new culture after many years of marriage and a grown daughter.

The result is the most delightful movie I saw at the South by Southwest Film Festival.

We were told scenes are being added to lengthen the one hour narrative and bring this charmer to the big screen.

The writer of Monsoon Wedding offers another romantic story and you don't want to miss it.