Guarding Tess

Directed by: Hugh Wilson

Written by: Hugh Wilson, Pj Torokvei










I remember my parents watching this movie, and at some point it made its way on to my DVD lists and crawled its way to the top of the pile.

Nicholas Cage performs well as Agent Chesnic, who has been assigned to protect former first lady Tess Carlisle (MacLaine) because he is one of the few people who can tolerate her. He manages to put up with her fussy, formal manner, while ostensibly keeping her safe. Not everyone is as honorable as Agent Chesnic, though.

The two main stars - Cage and MacLaine - do very well in their parts. Cage is charming and awkward, but genuine and heartfelt. MacLaine is believable in her part, bringing the fictional first lady to life. The supporting cast also does a great job, though they are slightly hindered by a script which limits their roles.

Despite the actors charms, the plot is relatively thin, focusing mainly on character interactions (and the antics that ensue) for the first half of the film, and the dramatic action developing only near the end. That action, though, is quite memorable. In fact, it was a vague recollection of the big twist which stood out in my mind and made me want to watch the movie at all.

Overall, a charming movie, but not necessarily essential viewing.

Pulp Fiction

Directed by: Quentin Tarantino

Written by: Quentin Tarantino (screenplay, story), Roger Avary (story)










"Pulp Fiction" is a film that stands in a class of its own.  It's bloody.  It's violent.  It's crude.  And it's great.

What's most surprising to me is that "Pulp Fiction" only represents Tarantino's sophomore effort.  By his second film, he's already showing an incredible ability to synthesize influences to create an entirely new piece.  (He will repeat this process with martial arts films in "Kill Bill" and war films in "Inglorious Basterds.)

The complexity of the story sequencing is something that stands out no matter how many times I've seen it.  Each of the stories could theoretically stand alone, but is also critically connected to the other parts.  Almost like a house of cards, each part leans on the others to stand up, and it works incredibly well.  Other movies have been made since with a similar structure, but none with nearly as much finesse and artistry as "Pulp Fiction."

Bullets Over Broadway

In this 1920's timepiece comedy by Woody Allen, David Shayne (John Cusack) is an up-and-coming playwright who wants to get his new play produced. But, when the money dries up, his producer turns to the mob - who agree to fund the play, on the condition that Olive (Jennifer Tilly) - the boss's girlfriend - gets to play the lead. Keeping Olive happy is no small feat, though, and so her bodyguard Cheech (Chazz Palmentari) starts to offer advice to make the play better. Cheech's tips are surprisingly good, and he takes on a larger role helping Shayne finish the play, even to the point of betraying his boss's wishes! (There's also a subplot about Shayne having an affair with another actress (played by Dianne Wiest) who is also jockeying for a better role in the play.)

As much as I like Woody Allen's work (such as "Annie Hall" (duh!) and "Manhattan"), this film took me a little while to dig in and enjoy. At first, the 1920's setting came off as a little too cartoonish or like a high school play. The costumes were just too clean and the sets almost simplistic. Once I got past these superficial issues, though - and the fact that John Cusack was playing the Woody Allen role - I was able to enjoy it.

Part of the reason it took me so long to get past those features was the fact that the movie spent so much time in exposition. The characters were so busy being characters - and fleshing out every detail of their personality - that it was nearly an hour before the plot started to move forward. Cheech is basically set furniture for the first half of the film, although he turns out to be one of the most dynamic and important characters. Once Cheech starts to speak up, though, things start to move along and the film takes on a great vibrancy.

Although the movie was technically a comedy, the comedy itself veered from Allen's typical high-wit with a hint of slapstick style. This humor was much more situational and character based, with most of the verbal jokes (such as Wiest's constant "No! No! Don't speak!" repetition) coming off with a dry mock-seriousness, to the point where I was not sure whether or not to laugh.

Despite all my complaints here, though, I want to make clear that the movie had an enjoyable, simple charm. I had fun watching this movie. It did not require me to push emotional buttons or think too deeply about symbolic meanings, but, at the same time, it was was not bland or boring. It threaded a tough needle that way.

I recommend this movie because of its charm and effect. Just make sure you drink some coffee to help you get through the slow opening.