NEW IN THEATERS: Flightplan

FLIGHTPLAN (2005)

My Rating: *** (out of *****)

Starring: Jodie Foster, Peter Sarsgaard, Sean Bean, Greta Scacchi, Erika Christensen
Director: Robert Schwentke

My Review:

Not a tremendous film, and not a dud, Flightplan surfaces as a nifty little thriller that will divert those looking for some relatively undemanding escapist fare.

Jodie Foster is, of course, solidly convincing as Kyle Pratt, a grieving propulsion engineer who has just lost her husband in a tragic accident. She is returning from Berlin to the U.S. to bury him (on a huge double-decker plane that she helped design, no less) with her 6-year-old daughter Julia (an effective Marlene Hawston), when suddenly, the child disappears. Worse yet, no one seems to have seen the little girl get on the aircraft. The plane's passenger manifest doesn't even list her as being on board. Kyle's distress turns to panic, then to terror, and finally to fierce, dogged determination to find her daughter, whatever the costs.

First off, there is very little that's new here. Initially, I feared something too much like Julianne Moore's recent Mom-with-a-lost-kid-and-everyone-thinks-she's-crazy thriller The Forgotten. As with Moore's film, Flightplan tries at first to make you think that the lead character is crazy, but does a much more convincing job of it. Consider also, the truncated running time and ominous James Horner score. While these and other similarities are present, Flightplan follows a different path in that it remains firmly terrestrial in its explanation of the mysterious goings on. Sorry, X-Files fans, but there are no alien experients to be found here. Alas, once revealed, the plot twists are fairly unspectacular (as is the final third, which plays out as a run-of-the-mill action flick with a villain who talks too much).

Though the climactic moments are somewhat ho-hum, the journey to them is quite enjoyable. Schwentke's direction is crisp, the pacing brisk, and there are some nice suspenseful moments when we feel a genuine sense of "How's she gonna get out of this one?" While the screenplay's answers to that question aren't always convincing, the story as a whole maintains interest and works due to shrewd casting. The performances, though not particularly outstanding, are spot-on. And, as mentioned, Foster is the exception, diverting our attention from the sometimes hokey, tired plot machinations and inconsistencies that exist with her utterly convincing passion and commitment to emotional honesty.

More classy than Red Eye, though maybe not quite as much fun, Flightplan offers just the ticket (sorry, I couldn't resist the cheesy movie-reviewer pun here) for moviegoers in search of a well-acted, fairly exciting, basically standard action thriller.

PG-13, for action violence, emotional intensity, thematic elements, and some language

NEW IN THEATERS: The Exorcism of Emily Rose

THE EXORCISM OF EMILY ROSE (2005)

My Rating: **** (out of *****)
Starring: Laura Linney, Tom Wilkinson, Jennifer Carpenter, Campbell Scott, Mary Beth Hurt, Colm Feore
Director: Scott Derrickson

My Review:

In what has to be one of the most terrifying, gut-wrenching depictions of demonic possession ever put on film, The Exorcism of Emily Rose comes onto the scene with several distinctions that set it apart from (and far above) most of its peers in the oversaturated horror market. As helmed by Scott Derrickson (a director who is upfront about his Christian faith), and co-written by him from a story that is based upon actual events, Emily presents itself as a relentlessly gripping hybrid of character-driven courtroom drama and shockingly realistic demonic-possession horror.

Eerie long shots of bleak environments and commonplace items are used to convey the story of Father Moore, a Catholic priest on trial for the "negligent homicide" of a young college student, Emily Rose. Apparently, Emily believed herself to be demonically possessed. She sought Father Moore for assistance. His efforts to rid Emily of her tormentors led ultimately to a botched exorcism in which the girl died. The Archdiocese elicits the services of defense attorney Erin Bruner (interestingly, a self-proclaimed agnostic) to handle the case.

The mysterious and distressing case of Emily Rose unfolds mostly in flashbacks as Erin gathers details and prepares testimony with Father Moore. Linney and Wilkinson are two extremely talented actors, and they make what could have been a collection of tedious law-and-order cliches into genuinely compelling drama.

Horror films aren't usually known for their literate dialogue or thought-provoking insights, but Emily Rose takes us deeper with an uncommon (and welcome) array of colors, shades, and nuance. For example, the prosecuting attorney (an effective Campbell Scott) happens to be a devout believer, but he is fiercely committed to keeping Emily Rose's trial on firm terrestrial ground. Also, many points of view concerning the natural and supernatural are explored fairly and openly, and a collection of sophisticated subtleties (the barbed wire drippping blood is unforgettable) gives viewers plenty of room to draw their own conclusions.

A word of warning: The Exorcism of Emily Rose, while avoiding sensationalism and excessive displays, is an extremely disturbing film. The depictions of demonic possession are horrifying, devastating, and real enough to make your blood run cold, even though there are few special effects and almost no scenes with gore. Emily Rose's descent into spiritual bondage is also grueling to watch because young Jennifer Carpenter (in an astonishing physical performance) is so sweet and engaging in her few "normal" scenes that the sheer terror and bewildering agony of her situation literally rends tears from the viewer. The PG-13 rating notwithstanding, this is NOT a film for children of any age.

Derrickson's suggestions as to why Emily Rose (a passionate woman of faith) would be subjected to such darkness are problematic if taken in a literal and immediate sense. However, from a "big picture" perspective, his message presents a bold spiritual truth that we would do well to remember. That is, simply, that God often allows what we as humans consider to be suffering and great evil for a purpose of even greater good. Echoes of Job's dilemma, Paul's thorn in the flesh, and Christ's suffering on the cross can be found in the searing conclusions of Emily Rose, and the beautifully perplexing paradox of Philippians 2:12-14 is highlighted in a graceful and elegant way.

PG-13, for extremely intense and disturbing depictions of demonic possession with related violence and frightening moments, as well as mature thematic elements and some language

ART HOUSE OFFERINGS: Everything Is Illuminated

EVERYTHING IS ILLUMINATED (2005)

My Rating: **** (out of *****)

Starring: Elijah Wood, Eugene Hutz, Boris Leskin, Laryssa Lauret
Director: Liev Schreiber

My Review:

Some movies seem great the first time you see them. With time, however, that post-theater glow fades, and subsequent viewings reveal a flawed piece of work that leads you to ponder, "What was I thinking???"

Other films provide an initial impact of "Yeah, that was a nice movie," and then, as we reflect, begin to enter into our hearts and minds, deepening the shades and colors of what we have seen to reveal something truly profound.

Everything is Illuminated, an unassuming little gem from first-time director (long-time supporting actor) Liev Schreiber, humbly takes its place among the latter type of film. Several tried and true (and sometimes tired) genres are mashed together into one singularly strange yet weirdly cohesive whole. Devastating Holocaust history, chic culture clash comedy, road-trip/buddy movie, and reflective coming-of-age drama are all interwoven to bring author Jonathan Safran Foer's semiautobiographical account to the screen.

Wood, one of today's most expressive actors, plays Jonathan as a painfully shy, obsessive-compulsive neurotic with a penchant for collecting small and sometimes unusual items by which to remember experiences and loved ones now gone (everything from dentures, to dirt, to used condoms). Even though the character is drawn as a man with extremely flat affect, Wood manages to convey volumes of emotion through his eyes and expressions. His performance is largely silent, and though subtle (except for the Clark Kent glasses and pallbearer's suit), creates a quietly soulful impact.

The plot is simple, straightforward, and requires little exposition (which is good, because very little is offered). An old photograph of Jonathan's grandfather and a mysterious woman named Augustine who helped him escape the Nazi regime prompts Jonathan to travel to the Ukraine in search of this savior. Upon arriving in Eastern Europe, Jonathan joins his tour guides, a young man obsessed with American pop culture who consistently and amusingly butchers the English language, the young man's cranky old grandfather (who drives the car but claims to be blind), and the grandfather's "seeing-eye bitch," as she is lovingly referred to, who seems to have some form of dementia.

This bizarre troupe meanders through the bleak but beautiful countryside in search of a town that no one seems to know of. Eventually, they come to a field of sunflowers with one house at the center (a sweetly haunting image), and the tone of their journey shifts dramatically from broad, bemused, slightly aloof comedy to one of somber reflection and seriousness. What the travelers find there touches each of their histories in a different way, and, as one of the film's best lines suggests: "Everything is illuminated in the light of the past."

The exposition of the film is spare (sometimes spotty), and, though there is one needlessly bewildering moment that could have benefited from a little clarification, is mostly successful. The pacing is deliberate, and as previously mentioned, the tone shifts dramatically as the film enters its final third. Several viewers will no doubt find the film off-putting.

However, there is much to savor here. One character comes to grips with who he his, with ambiguously tragic results. Another finds absolution. Themes of history, family, forgiveness, cultural identity, hope, and freedom are gently but powerfully intertwined, creating a thoughtful movie-going experience whose impact at first seems muted, but eventually takes root in the heart, producing the fruit of thoughtful reverence and gratitude.

PG-13, for language, mature thematic elements, brief violence (including a disturbing image), and some sex-related material