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From: owner-movies-digest@lists.xmission.com (movies-digest) To: movies-digest@lists.xmission.com Subject: movies-digest V2 #367 Reply-To: movies-digest Sender: owner-movies-digest@lists.xmission.com Errors-To: owner-movies-digest@lists.xmission.com Precedence: bulk movies-digest Friday, August 16 2002 Volume 02 : Number 367 [MV] SIGNS / **** (PG-13) [MV] THE MASTER OF DISGUISE / *(PG) [MV] THE COUNTRY BEARS / ** (G) [MV] BLUE CRUSH / *** (PG-13) [MV] 24 HOUR PARTY PEOPLE / **** (R) [MV] THE GOOD GIRL / ***1/2 (R) [MV] POSSESSION / ***1/2 (PG-13) [MV] ME WITHOUT YOU / ***1/2 (R) [MV] SEX WITH STRANGERS / ** (Not rated) [MV] Our Own Oz Breaks The News RE: [MV] Our Own Oz Breaks The News ---------------------------------------------------------------------- Date: 06 Aug 2002 18:15:18 GMT From: gregorys@xmission.com Subject: [MV] SIGNS / **** (PG-13) SIGNS / **** (PG-13) August 2, 2002 Father Graham Hess: Mel Gibson Merrill Hess: Joaquin Phoenix Morgan Hess: Rory Culkin Bo Hess: Abigail Breslin Officer Caroline Paski: Cherry Jones Colleen Hess: Patricia Kalember Radio Host: Jose L. Rodriguez Buena Vista Pictures presents a film written and directed by M. Night Shyamalan. Running time: 120 minutes. Rated PG-13 (for some frightening moments). BY ROGER EBERT M. Night Shyamalan's "Signs" is the work of a born filmmaker, able to summon apprehension out of thin air. When it is over, we think not how little has been decided, but how much has been experienced. Here is a movie in which the plot is the rhythm section, not the melody. A movie that stays free of labored explanations and a forced climax, and is about fear in the wind, in the trees, in a dog's bark, in a little girl's reluctance to drink the water. In signs. The posters show crop circles, those huge geometric shapes in fields of corn and wheat, which were seen all over the world in the 1970s. Their origin was explained in 1991 when several hoaxers came forward and demonstrated how they made them; it was not difficult, they said. Like many supernatural events, however, crop circles live on after their unmasking, and most people today have forgotten, or never knew, that they were explained. "Signs" uses them to evoke the possibility that ... well, the possibility of anything. The genius of the film, you see, is that it isn't really about crop circles, or the possibility that aliens created them as navigational aids. I will not even say whether aliens appear in the movie, because whether they do or not is beside the point. The purpose of the film is to evoke pure emotion through the use of skilled acting and direction, and particularly through the soundtrack. It is not just what we hear that is frightening. It is the way Shyamalan has us listening intensely when there is nothing to be heard. I cannot think of a movie where silence is scarier, and inaction is more disturbing. Mel Gibson stars as Father Graham Hess, who lives on a farm in Bucks County, Pa. We discover he is a priest only belatedly, when someone calls him "Father." "It's not 'Father' anymore," he says. Since he has two children, it takes us a beat to compute that he must be Episcopalian. Not that it matters, because he has lost his faith. The reason for that is revealed midway in the film, a personal tragedy I will not reveal. Hess lives on the farm with his brother Merrill (Joaquin Phoenix) and his children Morgan and Bo (Rory Culkin and Abigail Breslin). There is an old-fashioned farmhouse and barn, and wide cornfields, and from the very first shot there seems to be something ... out there, or up there, or in there. Hess lives with anxiety gnawing at him. The wind sounds strange. Dogs bark at nothing. There is something wrong. The crop circles do not explain the feelings so much as add to them. He catches a glimpse of something in a corn field. Something wrong. The movie uses TV news broadcasts to report on events around the world, but they're not the handy CNN capsules that supply just what the plot requires. The voices of the anchors reveal confusion and fear. A video taken at a birthday party shows a glimpse of the most alarming thing. "The history of the world's future is on TV right now," Morgan says. In a time when Hollywood mistakes volume for action, Shyamalan makes quiet films. In a time when incessant action is a style, he persuades us to play close attention to the smallest nuances. In "The Sixth Sense" (1999) he made a ghost story that until the very end seemed only to be a personal drama--although there was something there, some buried hint, that made us feel all was not as it seemed. In "Unbreakable" (2000) he created a psychological duel between two men, and it was convincing even though we later discovered its surprising underlying nature, and all was redefined. In "Signs," he does what Hitchcock said he liked to do, and plays the audience like a piano. There is as little plot as possible, and as much time and depth for the characters as he can create, all surrounded by ominous dread. The possibility of aliens is the catalyst for fear, but this family needs none, because it has already suffered a great blow. Instead of flashy special effects, Shyamalan creates his world out of everyday objects. A baby monitor that picks up inexplicable sounds. Bo's habit of leaving unfinished glasses of water everywhere. Morgan's bright idea that caps made out of aluminum foil will protect their brains from alien waves. Hess' use of a shiny kitchen knife, not as a weapon, but as a mirror. The worst attack in the film is Morgan's asthma attack, and his father tries to talk him through it, in a scene that sets the entire movie aside and is only about itself. At the end of the film, I had to smile, recognizing how Shyamalan has essentially ditched a payoff. He knows, as we all sense, that payoffs have grown boring. The mechanical resolution of a movie's problems is something we sit through at the end, but it's the setup and the buildup that keep our attention. "Signs" is all buildup. It's still building when it's over. Copyright ⌐ Chicago Sun-Times Inc. [ To leave the movies mailing list, send the message "unsubscribe ] [ movies" (without the quotes) to majordomo@xmission.com ] ------------------------------ Date: 06 Aug 2002 18:15:21 GMT From: gregorys@xmission.com Subject: [MV] THE MASTER OF DISGUISE / *(PG) THE MASTER OF DISGUISE / *(PG) August 2, 2002 Pistachio: Dana Carvey Jennifer: Jennifer Esposito Grandfather: Harold Gould Frabbrizio: James Brolin Bowman: Brent Spiner Revolution Studios presents a film directed by Perry Andelin Blake. Written by Dana Carvey and Harris Goldberg. Running time: 80 minutes. Rated PG (for mild language and some crude humor). By ROGER EBERT "The Master of Disguise" pants and wheezes and hurls itself exhausted across the finish line after barely 65 minutes of movie, and then follows it with 15 minutes of end credits in an attempt to clock in as a feature film. We get outtakes, deleted scenes, flubbed lines and all the other versions of the Credit Cookie, which was once a cute idea but is getting to be a bore. The credits go on and on and on. The movie is like a party guest who thinks he is funny and is wrong. The end credits are like the same guest taking too long to leave. At one point they at last mercifully seemed to be over, and the projectionist even closed the curtains, but no: There was Dana Carvey, still visible against the red velvet, asking us what we were still doing in the theater. That is a dangerous question to ask after a movie like "The Master of Disguise." The movie is a desperate miscalculation. It gives poor Dana Carvey nothing to do that is really funny, and then expects us to laugh because he acts so goofy all the time. But acting funny is not funny. Acting in a situation that's funny--that's funny. The plot: Carvey plays an Italian waiter named Pistachio Disguisey, who is unfamiliar with the First Law of Funny Names, which is that funny names in movies are rarely funny. Pistachio comes from a long line of masters of disguise. His father, Frabbrizio (James Brolin), having capped his career by successfully impersonating Bo Derek, retires and opens a New York restaurant. He doesn't tell his son about the family trade, but then, when he's kidnapped by his old enemy Bowman (Brent Spiner), Pistachio is told the family secret by his grandfather (Harold Gould). Grandfather also gives him a crash course in disguise-craft after locating Frabbrizio's hidden workshop in the attic (a Disguisey's workshop, we learn, is known as a nest). There is now a scene representative of much of the movie, in which Pistachio puts on an inflatable suit, and it suddenly balloons so that he flies around the room and knocks over granddad. That scene may seem funny to kids. Real, real little, little kids. Carvey of course is himself a skilled impersonator, and during the film we see him as a human turtle, Al Pacino from "Scarface," Robert Shaw from "Jaws," a man in a cherry suit, a man with a cow pie for a face, George W. Bush, and many other guises. In some cases the disguises are handled by using a double and then employing digital technology to make it appear as if the double's face is a latex mask that can be removed. In other cases, such as Bush, he simply impersonates him. The plot helpfully supplies Pistachio with a girl named Jennifer (Jennifer Esposito) who becomes his sidekick in the search for Frabbrizio, and they visit a great many colorful locations. One of them is a secret headquarters where Bowman keeps his priceless trove of treasures, including the lunar landing module, which is used for one of those fight scenes where the hero dangles by one hand. The movie's director, Perry Andelin Blake, has been a production designer on 14 movies, including most of Adam Sandler's, and, to be sure, "The Master of Disguise" has an excellent production design. It is less successful at disguising itself as a comedy. Copyright ⌐ Chicago Sun-Times Inc. [ To leave the movies mailing list, send the message "unsubscribe ] [ movies" (without the quotes) to majordomo@xmission.com ] ------------------------------ Date: 06 Aug 2002 18:15:23 GMT From: gregorys@xmission.com Subject: [MV] THE COUNTRY BEARS / ** (G) THE COUNTRY BEARS / ** (G) July 26, 2002 Reed Thimple: Christopher Walken Mr. Barrington: Stephen Tobolowsky Mrs. Barrington: Meagen Fay And the voices of: Beary Barrington: Haley Joel Osment Officer Cheets, Ted Bedderhead: Diedrich Bader Tennessee: Julianne Buescher Trixie St. Claire: Candy Ford Fred Bedderhead: Brad Garrett Walt Disney Pictures presents a film directed by Peter Hastings. Written by Mark Perez. Running time: 88 minutes. Rated G. BY ROGER EBERT The formidable technical skills in "The Country Bears" must not be allowed to distract from the film's terminal inanity. Here is a story about a young music fan who persuades his favorite band to reunite after 10 years for a concert--and the fan and the band members are all bears. Why they are bears, I do not know. Do they know they are bears? Not necessarily. Do any of the humans mention that they are bears? Only in passing. Are there real bears in the woods who would maul and eat their victims, or are all bears benign in this world? These are not questions one is expected to pose about a movie based on a stage show at Disney World. We simply have to accept that some of the characters in the movie are people and others are bears, and get on with it. If Stuart Little's family can have a 2-inch mouse as a son, then why not musical bears? We must celebrate diversity. The movie stars Beary Barrington (voice by Haley Joel Osment), whose human parents treat him as one of the family. Then his brother breaks the news that he was adopted after being found by a park ranger, and little Beary runs away from home. His goal: Visit legendary Country Bear Hall, the Grand Ole Opry of singing bears, and pay tribute to the band he idolizes. Alas, the band has broken up, its members have scattered, and now even Country Bear Hall itself faces the wrecker's ball, thanks to the evil banker Reed Thimple (Christopher Walken). Since the hall is an elegant wooden structure, it is a little hard to understand why Thimple wants to replace it with a vacant lot, but there you have it. Little Beary then begins to meet the members of the Country Bears, and to persuade them, in a series of adventures, to reunite and stage a benefit concert to save the hall. One of the movie's running gags is that recording stars appear as themselves, talking about the Bears. We see Willie Nelson, Bonnie Raitt, Elton John, Queen Latifah and others, all talking about the band's influence on them, none mentioning that they are bears. Is the music good enough to influence Willie and the Queen? Don't make me laugh. It's hard to figure who the movie is intended for. In shape and purpose, it's like a G-rated version of "This Is Spinal Tap," but will its wee target audience understand the joke? Anyone old enough to be interested in the music is unlikely to be interested in the bears--at least, interested in the movie's routine and wheezy plot. True, the movie does a good job of integrating the bears into the action, with animatronics by Jim Henson's Creature Shop and no doubt various CGI effects, not to mention the strong possibility that in some shots we are basically watching actors in bear suits. It's done well, yes, but why? Copyright ⌐ Chicago Sun-Times Inc. [ To leave the movies mailing list, send the message "unsubscribe ] [ movies" (without the quotes) to majordomo@xmission.com ] ------------------------------ Date: 16 Aug 2002 16:20:02 GMT From: gregorys@xmission.com Subject: [MV] BLUE CRUSH / *** (PG-13) BLUE CRUSH / *** (PG-13) August 16, 2002 Anne Marie: Kate Bosworth Eden: Michelle Rodriguez Matt Tollman: Matthew Davis Lena: Sanoe Lake Penny: Mika Boorem Kala: Kala Alexander Drew: Chris Taloa Universal Pictures presents a film directed by John Stockwell. Written by Stockwell and Lizzy Weiss. Story by Weiss. Based on a magazine article by Susan Orlean. Running time: 104 minutes. Rated PG-13 (for sexual content, teen partying, language and a fight). BY ROGER EBERT "Blue Crush" knows something most surfing movies don't acknowledge--that many non-pro surfers endure blue-collar jobs as a way to support their surfing, which is the only time they feel really alive. Surfers in the movies have traditionally been golden boys and girls who ride the waves to Beach Boys songs--and live, apparently, on air. In "Blue Crush," we meet three Hawaiian surfers who work as hotel maids, live in a grotty rental, and are raising the kid sister of one of them. Despite this near-poverty, they look great; there is nothing like a tan and a bikini to overcome class distinctions. The women are Anne Marie (Kate Bosworth), Eden (Michelle Rodriguez) and Lena (Sanoe Lake). Anne Marie was a contender three years earlier in a major surfing competition on Oahu but nearly drowned. Now she's edging back into competition, encouraged by the others, who seem to take Anne Marie's career more seriously than she does. Life for the women includes surfing at dawn, working hard as a three-maid team at a local luxury resort, and surfing at dusk. Since her mother bailed out, Anne Marie has been raising Penny (Mika Booren), who attends a local school but is not always delivered quite on time. The movie, based on Susan Orlean's magazine article "Surf Girls of Maui," resembles the Nik Cohn journalism that inspired "Saturday Night Fever." Both stories are about working-class kids escaping into the freedom and glamor of their obsessions. We hear fascination in their voices when they stop at a gas station and see, at another pump, famous professional women surfers who are in Hawaii for a big tournament. While it is true that Anne Marie might be able to make money as a member of a pro surfing team, it is also true, as it was of Tony Manero in "Saturday Night Fever," that other things distract her, especially romance. She is not single-mindedly focused on her career. The movie's surfing scenes are well-photographed, and yet we've seen versions of them in many other movies, going all the way back to the lodestone, Bruce Brown's "The Endless Summer" (1966). What we haven't seen, what has the delight of life, are the scenes in the hotel, where the three maids deal with the aftermath of a messy party held by pro football players and try on expensive bathing suits in the room of a rich woman. Anne Marie has a fierce working woman's pride, and at one point gets herself fired by daring to march out onto the beach and demonstrate to a huge football lineman the correct procedure for wrapping a used condom in a Kleenex. She also has a working woman's realism, as when she advises the others not to resign in sympathy, because they have rent payments to meet. The date for the big competition is approaching, and Anne Marie is focused on it when the run-in with the football players (who are not bad guys) changes everything. The quarterback Matt Tollman (Matthew Davis) asks her out, and although she talks about non-fraternization policies, she accepts, and finds herself falling for him. Here is the crucial question: Is this a vacation romance or does it really mean something? Matt seems nice, attentive and genuine, but is it an act? The movie is realistic here, too: Anne Marie would not mind a vacation romance, but she wants to know that's what it is--she doesn't want to risk her heart needlessly. Eden is tougher and more cynical than her friend, and we remember Michelle Rodriguez's performance as an amateur boxer in "Girlfight" (2000). She's alarmed when her friend starts spending too much time with the quarterback and not enough time preparing for the impending competition ("Some guy thinks you look good in a bikini and you forget all about the contest."). And then of course the movie ends with the big showdown, with waves of awesome strength and feats of great surfing, with all the necessary dangers and setbacks. Even here, it doesn't settle for what we thought was the predictable outcome. "Blue Crush" was directed by John Stockwell, who made "Crazy/Beautiful" (2001), the movie where Kirsten Dunst plays the wild daughter of a congressman and her boyfriend is a responsible young Mexican-American. Here again we get the footloose Anglo and the Latino looking out for her, but in an unexpected context. Looking at the posters for "Blue Crush," which show Bosworth, Rodriguez and Lake posing with bikinis and surfboards, I expected another mindless surfing movie. "Blue Crush" is anything but. Copyright ⌐ Chicago Sun-Times Inc. [ To leave the movies mailing list, send the message "unsubscribe ] [ movies" (without the quotes) to majordomo@xmission.com ] ------------------------------ Date: 16 Aug 2002 16:20:00 GMT From: gregorys@xmission.com Subject: [MV] 24 HOUR PARTY PEOPLE / **** (R) 24 HOUR PARTY PEOPLE / **** (R) August 16, 2002 Tony Wilson: Steve Coogan Roger Ames: Keith Allen Ryan Letts: Rob Brydon Saville: Enzo Cilenti Derek Ryde: Ron Cook Bez: Chris Coghill United Artists presents a film directed by Michael Winterbottom. Written by Frank Cottrell Boyce. Running time: 117 minutes. Rated R (for strong language, drug use and sexuality). BY ROGER EBERT "24 Hour Party People," which tells the story of the Manchester music scene from the first Sex Pistols concert until the last bankruptcy, shines with a kind of inspired madness. It is based on fact, but Americans who don't know the facts will have no trouble identifying with the sublime posturing of its hero, a television personality named Tony Wilson, who takes himself seriously in a way that is utterly impossible to take seriously. Wilson, a real man, is played by Steve Coogan, who plays a Wilsonoid TV personality on British TV. That sort of through-the-looking-glass mixing of reality and fancy makes the movie somehow more true than a factual documentary would have been. Wilson is a lanky man with the face of a sincere beagle, a flop of hair over his right eyebrow, and an ability to read banal TV copy as if it has earth-shaking profundity. He's usually the only man in the room wearing a suit and tie, but he looks like he put them on without reading the instructions. He is so heartfelt about his lunacies that we understand, somehow, that his mind deals with contradictions by embracing them. As the film opens, Wilson is attending the first, legendary Sex Pistols concert in Manchester, England. Here and elsewhere, director Michael Winterbottom subtly blends real newsreel footage with fictional characters so they all fit convincingly into the same shot. Wilson is transfixed by the Pistols as they sing "Anarchy in the U.K." and sneer at British tradition. He tells the camera that everyone in the audience will leave the room transformed and inspired, and then the camera pans to show a total of 42 people, two or three of them half-heartedly dancing in the aisles. Wilson features the Pistols and other bands on his Manchester TV show. Because of a ban by London TV, his show becomes the only venue for punk rock. Turns out he was right about the Pistols. They let loose something that changed rock music. And they did it in the only way that Wilson could respect, by thoroughly screwing up everything they did, and ending in bankruptcy and failure, followed by Sid Vicious' spectacular murder-suicide flameout. The Sex Pistols became successful because they failed; if they had succeeded, they would have sold out, or become diluted or commercial. I saw Johnny Rotten a few years ago at Sundance, still failing, and it made me feel proud of him. Tony Wilson, who preaches "anarchism" not as a political position but as an emotional state, knows he has seen the future. He joins with two partners to form a Factory Records, which would become one of the most important and least financially successful recording companies in history, and joyously signs the contract in his blood (while declaring "we will have no contracts"). His bands include Joy Division (renamed New Order after the suicide of its lead singer) and Happy Mondays. His company opens a rave club, the Hacienda, which goes broke because the customers ignore the cash bars and spend all their money on Ecstasy. Wilson hardly cares. When the club closes, he addresses the final night's crowd: "Before you leave, I ask you to invade the offices and loot them." When he meets with investors who want to buy Factory Records, they are startled to learn he has nothing to sell--no contracts, no back catalog, nothing. "We are not really a company," he explains helpfully. "We are an experiment in human nature. I protected myself from the dilemma of selling out by having nothing to sell." This is a lovable character, all the more so because his conversation uses the offhand goofy non-sequiturs of real speech, instead of being channeled into a narrow lane of movie dialogue. The writer, Frank Cottrell Boyce, gives Wilson a distinctive voice we come to love. "I went to Cambridge University!" he tells one of his broadcast bosses. "I'm a serious journalist, living in one of the most important times in human history." Yes, but the next day he's interviewing a midget elephant trainer. He explains how the invention of broccoli funded the James Bond movies (there is a shred of truth there, actually). He quotes Plutarch and William Blake, he says one of his singers is a poet equal to Yeats, he looks at empty concert halls and observes hopefully that there were only 12 people at the Last Supper (13, actually, counting the talent). And he is courageous in the face of daunting setbacks, pushing on optimistically into higher realms of failure. The movie works so well because it evokes genuine, not manufactured, nostalgia. It records a time when the inmates ran the asylum, when music lovers got away with murder. It loves its characters. It understands what the Sex Pistols started, and what the 1990s destroyed. And it gets a certain tone right. It kids itself. At one point, Wilson looks straight at the camera and tells us that a scene is missing, "but it will probably be on the DVD." As the screenwriter of an ill-fated Sex Pistols movie, I met Rotten, Vicious, Paul Cook, Steve Jones and their infamous manager, Malcolm McLaren, and brushed the fringe of their world. I could see there was no plan, no strategy, no philosophy, just an attitude. If a book on the Sex Pistols had an upraised middle finger on the cover, it wouldn't need any words inside. And yet Tony Wilson goes to see the Pistols and sees before him a delirious opportunity to--to what? Well, obviously, to live in one of the most important times in human history, and to make your mark on it by going down in glorious flames. Copyright ⌐ Chicago Sun-Times Inc. [ To leave the movies mailing list, send the message "unsubscribe ] [ movies" (without the quotes) to majordomo@xmission.com ] ------------------------------ Date: 16 Aug 2002 16:20:09 GMT From: gregorys@xmission.com Subject: [MV] THE GOOD GIRL / ***1/2 (R) THE GOOD GIRL / ***1/2 (R) August 16, 2002 Justine: Jennifer Aniston Holden: Jake Gyllenhaal Phil: John C. Reilly Bubba: Tim Blake Nelson Cheryl: Zooey Deschanel Corny: Mike White Fox Searchlight Pictures presents a film directed by Miguel Arteta. Written by Mike White. Running time: 93 minutes. Rated R (for sexuality, some language and drug content). Opening today at Landmark Century. BY ROGER EBERT After languishing in a series of overlooked movies that ranged from the entertaining ("Office Space") to the disposable ("Picture Perfect"), Jennifer Aniston has at last decisively broken with her "Friends" image in an independent film of satiric fire and emotional turmoil. It will no longer be possible to consider her in the same way. In "The Good Girl," she plays Justine, a desperately bored clerk at Retail Rodeo, a sub-Kmart where the customers are such sleepwalkers they don't even notice when the "Attention, Shoppers!" announcements are larded with insults and nonsense. Recent headlines tell of a lawsuit against Wal-Mart for forcing its employees to work unpaid overtime. Retail Rodeo is by contrast relatively benign. Management is particularly flexible with Justine's co-worker Cheryl (Zooey Deschanel), who, after getting carried away once too often on the P.A. system, is reassigned to Women's Makeovers, where she improvises dubious advice. A new makeup style is called "Cirque du Face," she tells one customer. "It's all the rage with the Frenchies." Justine, who is 30ish, is married to a house painter named Phil (John C. Reilly), who is attached vertically to the living room sofa and horizontally to his best friend, Bubba (Tim Blake Nelson). Phil and Bubba paint houses during the day and are couch potatoes at night, smoking weed and peering at the television. After a day of drudgery, Justine comes home to stoned indifference. No wonder she's intrigued by Holden (Jake Gyllenhaal), the new check-out kid, who's reading The Catcher in the Rye and tells her its hero is a victim of the world's hypocrisy. Quite a coincidence, that a kid named Holden would be reading a book about a character named Holden. When they become better friends, Holden invites Justine to his house, where his mother calls him "Tom." In the safety of his room, he explains: "Tom is my slave name." Soon Justine and Tom, who is a college dropout with a drinking problem, are having sex everywhere they can: in the car, in his room, in the stockroom at Retail Rodeo, and in a fleabag motel, where, unluckily, Bubba sees them. For Bubba, this is an ideal opening for emotional blackmail. He has long explained that he is single because he despairs of ever finding a wife as "perfect" as Justine. Now he demands sex with her, so his life will be complete. Otherwise, he will tell Phil about her affair. In a decision that Jennifer Aniston would never make but Justine might (this is a crucial distinction), she deals with this demand and with another crisis, when she discovers she is pregnant. She also finds out what she should have suspected, that Bubba would never tell Phil about her secrets, because he adores Phil too much and, as Phil's wife, she is protected by his immunity. "The Good Girl" has been directed by Miguel Arteta and written by Mike White, who plays the Retail Rodeo's security guard. They also collaborated on "Chuck and Buck," and on the basis of these two strange movies with their skewed perspectives, they are talents with huge promise. They know how much satire and exaggeration is enough but not too much, so that in a subterranean way their movies work on serious levels while seeming to be comedies. Certainly the last big scene between Aniston and Reilly is an unexpected payoff, delivering an emotional punch while at the same time we can only admire Aniston's strategy involving the father of her child. She says it's Phil's, and that claim cannot be disproved on the basis of Phil's information; having confessed to cheating, she allows him to suspect someone who could not have a black-haired child; therefore, the father is the dark-haired Phil. Right? Right. Copyright ⌐ Chicago Sun-Times Inc. [ To leave the movies mailing list, send the message "unsubscribe ] [ movies" (without the quotes) to majordomo@xmission.com ] ------------------------------ Date: 16 Aug 2002 16:20:06 GMT From: gregorys@xmission.com Subject: [MV] POSSESSION / ***1/2 (PG-13) POSSESSION / ***1/2 (PG-13) August 16, 2002 Maud Bailey: Gwyneth Paltrow Roland Michell: Aaron Eckhart Randolph Henry Ash: Jeremy Northam Christabel LaMotte: Jennifer Ehle Blanche Glover: Lena Headey Focus Features and Warner Bros. Pictures present a film directed by Neil LaBute. Written by David Henry Hwang, Laura Jones and LaBute. Based on the novel by A.S. Byatt. Running time: 102 minutes. Rated PG-13 (for sexuality and some thematic elements). BY ROGER EBERT A visiting American scholar is paging through an old volume at the British Museum when he comes upon a letter stuffed between the pages--a love letter, it would appear, from Queen Victoria's poet laureate, addressed to a woman not his wife. The poet has been held up for more than a century as a model of marital fidelity. The letter is dynamite. The scholar slips the letter out of the book and into his portfolio, and is soon displaying it, with all the pride and uncertainly of a new father, to a British woman who knows (or thought she knew) everything about the poet. The American, named Roland Michell (Aaron Eckhart), is professionally ambitious but has a block against personal intimacy. The British expert, named Maud Bailey (Gwyneth Paltrow), is suspicious of love, suspicious of men, suspicious of theories that overturn a century of knowledge about her speciality. Together, warily, edgily, they begin to track down the possibility that the happily married Randolph Henry Ash did indeed have an affair with the 19th century feminist and lesbian Christabel LaMotte. Two modern people with high walls of privacy are therefore investigating two Victorians who in theory never even met. This setup from A.S. Byatt's 1990 Booker Prize-winning novel would seem like the last premise in the world to attract director Neil LaBute, whose "In the Company of Men" and "Your Friends & Neighbors" were about hard-edged modern sexual warfare. But look again at the romantic fantasies in his overlooked "Nurse Betty" (2000), about a housewife in love with a soap opera character and a killer in love with a photograph of the housewife, and you will see the same premise: Love, fueled by imagination, tries to leap impossible divides. The film, written by David Henry Hwang, Laura Jones and LaBute, uses a flashback structure to move between the current investigation and the long-ago relationship. Jeremy Northam plays Ash, an upright public figure, and Jennifer Ehle is Christabel, a pre-Raphaelite beauty who lives with the darkly sensuous Blanche Glover (Lena Headey). The nature of their relationship is one of the incidental fascinations of the movie: At a time before lesbianism was widely acknowledged, female couples were commonly accepted and the possibility of a sexual connection didn't necessarily occur. Blanche is the dominant and possessive one, and Christabel is perhaps not even essentially lesbian, but simply besotted with friendship. When she and Ash make contact, it is Blanche, not Ash's unbending wife, who is the angered spouse. In the way it moves between two couples in two periods, "Possession" is like Karel Reisz's "The French Lieutenant's Woman" (1981). That film, with a screenplay by Harold Pinter, added a modern couple that didn't exist in the John Fowles novel, and had both couples played by Meryl Streep and Jeremy Irons. The notion of two romances on parallel trajectories is common to both films, and intriguing because there seem to be insurmountable barriers in both periods. Ash and Christabel are separated by Victorian morality, his marriage and her relationship. The moderns, Maud and Roland, seem opposed to any idea of romance; she has her own agenda, and he is reticent to a fault. "You have nothing to fear from me," he tells her early on, because he avoids relationships. Later, when they find themselves tentatively in each other's arms, he pulls back: "We shouldn't be doing this; it's dangerous." This might be convincing if Roland and Maud looked like our conventional idea of literary scholars: Mike White, perhaps, paired with Lili Taylor. That they are both so exceptionally attractive is distracting; Paltrow is able to project a certain ethereal bookishness, but a contemporary man with Eckhart's pumped-up physique and adamant indifference to Paltrow would be read by many observers as gay. That he is not--that his reticence is a quirk rather than a choice--is a screenplay glitch we have to forgive. We do, because the movie is not a serious examination of scholarship or poetry, but a brainy romance. In a world where most movie romances consist of hormonal triggers and plumbing procedures, it's sexy to observe two couples who think and debate their connections, who quote poetry to each other, who consciously try to enhance their relationships by seeking metaphors and symbols they can attach to. Romance defined by the body will decay with the flesh, but romance conceived as a grand idea--ah, now that can still fascinate people a century later. LaBute is a director who loves the spoken word. No surprise that between movies he writes and directs plays. I suspect he would be incapable of making a movie about people who had nothing interesting to say to one another. What he finds sexy is not the simple physical fact of two people, but the scenario they write around themselves; look at the way the deaf woman in "In the Company of Men" so completely defeats both men by discovering their ideas of themselves and turning those ideas against them. By the end of the movie, with the egos of both men in shards at her feet, the woman seems more desirable than we could have imagined possible. What happens in "Possession" is not the same, but it is similar enough to explain LaBute's interest in the story. He likes people who think themselves into and out of love, and finds the truly passionate (like Blanche) to be the most dangerous. He likes romances that exist out of sight, denied, speculated about, suspected, fought against. Any two people can fall into each other's arms and find that they enjoy the feeling. But to fall into someone else's mind--now that can be dangerous. Copyright ⌐ Chicago Sun-Times Inc. [ To leave the movies mailing list, send the message "unsubscribe ] [ movies" (without the quotes) to majordomo@xmission.com ] ------------------------------ Date: 16 Aug 2002 16:20:04 GMT From: gregorys@xmission.com Subject: [MV] ME WITHOUT YOU / ***1/2 (R) ME WITHOUT YOU / ***1/2 (R) August 16, 2002 Marina: Anna Friel Holly: Michelle Williams Nat: Oliver Milburn Daniel: Kyle MacLachlan Linda: Trudie Styler Isabel: Marianne Denicourt IDP Films presents a film directed by Sandra Goldbacher. Written by Goldbacher and Laurence Coriat. Running time: 107 minutes. Rated R (for language, sexual content and drug use). BY ROGER EBERT Marina and Holly's childhood friendship evolves into a toxic relationship when they grow up, but they still remain close because even when they're hurting each other, there's no one else they'd rather hurt. Ever had a friend like that? Although Marina is more neurotic and Holly is more the victim, maybe it's because they like it that way. If Holly knew the whole story of how Marina betrays her, she'd be devastated--but then, of course, she doesn't. "Me Without You" has a bracing truth that's refreshing after the phoniness of female-bonding pictures like "Divine Secrets of the Ya-Ya Sisterhood." It doesn't mindlessly celebrate female friendship, but looks at it with a level gaze. If Holly and Marina remain friends despite everything--well, maybe it would be a shame to throw away all that history. Sandra Goldbacher's film begins in London in 1974 and continues for another 20 years, paying close attention to changing fashions in clothing, music and makeup, while not making too big a point of it. We meet Holly (Michelle Williams of "Dawson's Creek") and Marina (Anna Friel) as adolescents who seal their friendship by placing treasures in a box and hiding it (there is a law requiring all female friends to perform this ritual in the movies). We meet their parents. Marina has a mother who fancies herself a sexpot and is a little drunk all day long, and a father who is, understandably, distant. Holly comes from a Jewish family that is warm but not especially supportive; she learns from her mother that she is more clever than pretty, and is not clever enough to figure out that she's pretty, too. Marina has a brother named Nat (Oliver Milburn) who Holly has always been in love with. He is a decent sort and likes Holly, too, and one night during their hippie party phase he makes love to her, but this is not on Marina's agenda and she destroys a crucial letter that could have changed everything. Another rivalry over a male takes place at college, when both women fall for a handsome dweeb American lecturer named Daniel (Kyle MacLachlan). And here the movie does something that few female-bonding pictures have the nerve to do, and introduces a fully formed, fascinating male. In a superbly modulated performance by MacLachlan, Daniel comes across as a man who can easily be tempted but not easily secured. He's willing to be seduced but is frightened of commitment; his posture is always that of the male prepared to back away and apologize at the slightest offense. He has a highly developed line in chit-chat, quoting all the best poets, and Holly is deceived by him while the more cynical Marina strip-mines him and moves on. What's fascinating about the Daniel character is that he illustrates how men are not always the villains in unfaithful relationships, but sometimes simply the pawns of female agendas. Daniel gives both women what they want, and they want it more than he wants to give it. So although he appears to be a two-timer, he's more of a two-time loser. Rare, to see a character portrayed in this depth instead of simply being used as a plot ploy. Michelle Williams is the surprise. I am not a student of "Dawson's Creek," but I know she uses an American accent on it, and here, like Renee Zellweger in "Bridget Jones's Diary," she crosses the Atlantic, produces a perfectly convincing British accent, and is cuddly and smart both at once. Anna Friel, as Marina, has a tricky role because she is only ostensibly the sexy, world-wise woman, and in fact is closer to her insecure mother. What eats at her is that in the long run Holly is more appealing to men, and it has nothing to do with hair or necklines. The movie isn't entirely free of cliches (the secret treasure box, dredged up from a pond after decades, of course is still intact). But the screenplay, by Goldbacher and Laurence Coriat, plays as if the authors have based it on their observations of life, not of movies. There is ultimately a species of happy ending, although you realize it represents maturity and weariness more than victory. The struggles of the teens and 20s are so fraught, so passionate, so seemingly desperate, that when you grow older and learn balance and perspective, there's a bittersweet sense of loss. In years to come, Marina and Holly may reflect that they were never happier than when they were making each other miserable. Copyright ⌐ Chicago Sun-Times Inc. [ To leave the movies mailing list, send the message "unsubscribe ] [ movies" (without the quotes) to majordomo@xmission.com ] ------------------------------ Date: 16 Aug 2002 16:20:07 GMT From: gregorys@xmission.com Subject: [MV] SEX WITH STRANGERS / ** (Not rated) SEX WITH STRANGERS / ** (Not rated) August 16, 2002 View Films presents a documentary directed by Joe and Harry Gantz. Running time: 105 minutes. No MPAA rating (intended for adults). Opening today at the Esquire Theatre. BY ROGER EBERT The most intriguing element of "Sex with Strangers" involves not the sex, but the strangers. Here are people who do not allow the use of their last names, yet they cheerfully have sex in front of the camera--and even willingly participate in scenes that make them look cruel, twisted, reckless and perhaps deranged. We know from the Springer show that shame is no barrier when it comes to collecting your 15 minutes of fame. But these people act like this, we realize, even when the cameras aren't on. They live this way. The movie has been produced and directed by Joe and Harry Gantz, who do the "Taxicab Confessions" program for HBO. They follow two couples and a sad threesome through their adventures in the swinging lifestyle, in a documentary that strongly suggests the screwing they're getting isn't worth the screwing they're getting. Even assuming they have an insatiable appetite for sex with strangers, how do they develop an appetite for trolling through the roadside bars of the nation, picking up the kinds of people who can be picked up there? Groucho Marx wouldn't belong to any club that would have him as a member. The stars of this film might be wise not to sleep with anyone who would sleep with them. We meet James and Theresa, Shannon and Gerard, and Calvin and Sara and Julie. James and Theresa have it all figured out. They even have their own business cards. They cruise the back roads of the nation, pulling up to bars in their motor home, meeting new friends inside and inviting them out to the Winnebago for a swap meet. Shannon and Gerard are more complicated: She seems deeply neurotic about the lifestyle, he wants to swing without her, they have a child who they try to insulate from mommy and daddy's ever-changing new friends, and there's even a scene where they chat about their lifestyle with her mother, getting points for "openness" when they should be penalized for inflicting their secrets upon the poor woman. Now as for Calvin. He uses the rhetoric of the lifestyle primarily, we suspect, as a way to justify sleeping with both Sara and Julie, neither one of whom is particularly enthusiastic about his hobby. He wants it all but isn't a good sport when Sara and Julie slip off without the middleman. Although mate-swappers would have you believe that they are open and willing participants in their lifestyle, the evidence on screen suggests that men are a good deal more keen about the practice than women, perhaps because there is an intrinsic imbalance in the pleasures to be had from quickie anonymous sex. When I first saw the movie, I had fundamental questions about how much of it could be trusted. On "Ebert & Roeper," I said: "There's a scene where James and Theresa are in a club and they meet another couple, and they ask the other couple, 'Do you want to swing?' And the other couple says, 'Sure.' And they say, 'Oh, we have our motor home right outside.' And so they go outside, the two couples and the camera. And I'm wondering: Let's say I wanted to be a swinger and I've just met two people who are going to take me into their motor home. Am I going to wonder about the fact that this happens to be videotaped while it's happening? When I saw scenes like that, I thought, this has all been rehearsed. It's a setup." After the show played, I got an e-mail from Joe Gantz, who assured me that all of the scenes in the movie do indeed reflect reality. One key to their footage is that they always have two cameras running all the time, to supply cutaways and reaction shots. Another is that, by definition, they only show couples who agreed to be photographed. If a hypothetical couple got to the motor home and balked at the cameras, they wouldn't be in the movie. That leads me back to where I began--to curiosity about the mind-set of the people in the film. By openly swapping mates, they have already abandoned conventional notions of privacy and modesty. Perhaps it is only a small additional step to do it on camera. But I didn't find much fascination in the swinging. What they're doing is a matter of plumbing arrangements and mind games, of no erotic or sensuous charge. But that they are doing it is thought-provoking. What damage had to be done to their self-esteem, and how, to lead them to this point? Copyright ⌐ Chicago Sun-Times Inc. [ To leave the movies mailing list, send the message "unsubscribe ] [ movies" (without the quotes) to majordomo@xmission.com ] ------------------------------ Date: Sat, 10 Aug 2002 23:07:58 -0400 From: Mel Eperthener <bcassidy@usaor.net> Subject: [MV] Our Own Oz Breaks The News I don't know if this list has just been very very quiet of late, or if Yahoo just keeps screwing up. Most likely, it is Yahoo:-) (I keep getting messages that Yahoo mail keeps bouncing. Funny, all the SPAM seems to get thru, especially that coming from Yahoo) I don't know if this has been discussed here, or if he is still on the list here (or if anyone even remembers him), but Oz of Hollywoodbitchslap is making quite a name for himself. The following is shamelessly stolen from Erik the Movieman, who shamelessly stole it from IMDb (who were reporting on events concerning friends of Erik, so I guess he has more right to "borrow" than I do:-) ). Anyway, this can also be found at http://us.imdb.com , the best site for movie information, in toto. Oz, care to step forward and take our accolades?? The funny thing is, I recently attended an industry event for Universal, where they were seriously hyping both movies mentioned below, Blue Crush (sorry, but I had trouble believing that a 50-odd-year-old studio PR man would be THAT excited about a surfing movie that reminded me of Point Break, which I will admit, with shame, I somewhat enjoyed when I finally saw it YEARS after vowing that it looked like the worst movie ever, and I would never EVER ever watch it) and Red Dragon (both the first and fourth Hannibal Lecter movie, strangely). So, without further ado: Website Claims Phony Fan Is a Studio Shill An editorial writer for an Internet movie fan site claimed Wednesday that he has traced the IP address of a person who planted a rave review of the upcoming movie Blue Crush, starring Kate Bosworth, on its message board to Universal Pictures' registered corporate site, MCI.com. (As we reported previously, the same review was posted on other movie fan sites.) The HollywoodBitchSlap.com writer, who goes by the nom de plume "OZ" ("We're not giving out our personal details.") claimed: "We've got them caught red-handed, and not once, but twice!" (A similar message, he said, was posted for the upcoming Red Dragon.) After Sony publicists admitted last year that they had invented a critic named David Manning to praise the studio's movies in its ads and had used studio employees in testimonial commercials, Universal publicity chief Terry Curtin told the Washington Post, "I don't condone either of those practices, nor have I done either of those practices." However, the HollywoodBitchSlap writer asked, "What's the difference between paying your staff to pretend to be film fans on websites across the country and paying them to pretend to be happy customers in a TV commercial?" Curtin was not available for comment at our deadline. - --Mel Eperthener president, Gowanna Multi-media Pty, Inc http://www.webz.com/gowanna mailto:bcassidy@usaor.net mailto:gowanna@australiamail.com West Coast Video Gowanna MultiMedia Pty 4614 Liberty Avenue PO Box 95184 Pittsburgh, PA 15224 Pittsburgh, PA 15223 (412) 682-3900 TOLL FREE COMING SOON!!!!! ____________________________________________ Look, I think we've all got something we can bring to this discussion. But I think from now on the thing you should bring is silence. ______________________________________________ [ To leave the movies mailing list, send the message "unsubscribe ] [ movies" (without the quotes) to majordomo@xmission.com ] ------------------------------ Date: Fri, 16 Aug 2002 15:10:40 -0500 From: Wade Snider <wsnider@brazoselectric.com> Subject: RE: [MV] Our Own Oz Breaks The News This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. - ------_=_NextPart_001_01C24560.FE549C10 Content-Type: text/plain Way to go Oz - Stick it to those assmunching morons > -----Original Message----- > From: Mel Eperthener [SMTP:bcassidy@usaor.net] > Sent: Saturday, August 10, 2002 10:08 PM > To: movies@lists.xmission.com > Subject: [MV] Our Own Oz Breaks The News > > I don't know if this list has just been very very quiet of late, or if > Yahoo just keeps screwing up. Most likely, it is Yahoo:-) (I keep > getting > messages that Yahoo mail keeps bouncing. Funny, all the SPAM seems to get > thru, especially that coming from Yahoo) > > I don't know if this has been discussed here, or if he is still on the > list > here (or if anyone even remembers him), but Oz of Hollywoodbitchslap is > making quite a name for himself. The following is shamelessly stolen from > Erik the Movieman, who shamelessly stole it from IMDb (who were reporting > on events concerning friends of Erik, so I guess he has more right to > "borrow" than I do:-) ). Anyway, this can also be found at > http://us.imdb.com , the best site for movie information, in toto. > > Oz, care to step forward and take our accolades?? The funny thing is, I > recently attended an industry event for Universal, where they were > seriously hyping both movies mentioned below, Blue Crush (sorry, but I had > trouble believing that a 50-odd-year-old studio PR man would be THAT > excited about a surfing movie that reminded me of Point Break, which I > will > admit, with shame, I somewhat enjoyed when I finally saw it YEARS after > vowing that it looked like the worst movie ever, and I would never EVER > ever watch it) and Red Dragon (both the first and fourth Hannibal Lecter > movie, strangely). > > So, without further ado: > > Website Claims Phony Fan Is a Studio Shill > An editorial writer for an Internet movie fan site claimed Wednesday that > he > has traced the IP address of a person who planted a rave review of the > upcoming movie Blue Crush, starring Kate Bosworth, on its message board to > > Universal Pictures' registered corporate site, MCI.com. (As we reported > previously, the same review was posted on other movie fan sites.) The > HollywoodBitchSlap.com writer, who goes by the nom de plume "OZ" ("We're > not > giving out our personal details.") claimed: "We've got them caught > red-handed, and not once, but twice!" (A similar message, he said, was > posted > for the upcoming Red Dragon.) After Sony publicists admitted last year > that > they had invented a critic named David Manning to praise the studio's > movies > in its ads and had used studio employees in testimonial commercials, > Universal publicity chief Terry Curtin told the Washington Post, "I don't > condone either of those practices, nor have I done either of those > practices." However, the HollywoodBitchSlap writer asked, "What's the > difference between paying your staff to pretend to be film fans on > websites > across the country and paying them to pretend to be happy customers in a > TV > commercial?" Curtin was not available for comment at our deadline. > > > > --Mel Eperthener > president, Gowanna Multi-media Pty, Inc http://www.webz.com/gowanna > mailto:bcassidy@usaor.net > mailto:gowanna@australiamail.com > > West Coast Video Gowanna MultiMedia Pty > 4614 Liberty Avenue PO Box 95184 > Pittsburgh, PA 15224 Pittsburgh, PA 15223 > (412) 682-3900 > TOLL FREE COMING SOON!!!!! > ____________________________________________ > Look, I think we've all got something we can bring to this > discussion. But I think from now on the thing you should bring is > silence. > ______________________________________________ > > > [ To leave the movies mailing list, send the message "unsubscribe ] > [ movies" (without the quotes) to majordomo@xmission.com ] - ------_=_NextPart_001_01C24560.FE549C10 Content-Type: text/html Content-Transfer-Encoding: quoted-printable <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 3.2//EN"> <HTML> <HEAD> <META HTTP-EQUIV=3D"Content-Type" CONTENT=3D"text/html; = charset=3Dus-ascii"> <META NAME=3D"Generator" CONTENT=3D"MS Exchange Server version = 5.5.2653.12"> <TITLE>RE: [MV] Our Own Oz Breaks The News</TITLE> </HEAD> <BODY> Way to go Oz - Stick = it to those assmunching morons <UL> -----Original Message----- From: Mel Eperthener [SMTP:bcassidy@usaor.net] Sent: Saturday, August 10, 2002 10:08 PM To: movies@lists.xmission.com Subject: = [MV] Our Own Oz Breaks The = News I don't know if this list has just = been very very quiet of late, or if Yahoo just keeps screwing up. = Most likely, it is Yahoo:-) (I keep getting messages that Yahoo mail keeps = bouncing. Funny, all the SPAM seems to get thru, especially that coming from = Yahoo) I don't know if this has been = discussed here, or if he is still on the list here (or if anyone even remembers = him), but Oz of Hollywoodbitchslap is making quite a name for = himself. The following is shamelessly stolen from Erik the Movieman, who shamelessly = stole it from IMDb (who were reporting on events concerning friends of Erik, = so I guess he has more right to "borrow" than I do:-) = ). Anyway, this can also be found at <A HREF=3D"http://us.imdb.com" = TARGET=3D"_blank">http://us.imdb.com</A> , the best site for movie = information, in toto. Oz, care to step forward and take our = accolades?? The funny thing is, I recently attended an industry event = for Universal, where they were seriously hyping both movies = mentioned below, Blue Crush (sorry, but I had trouble believing that a = 50-odd-year-old studio PR man would be THAT excited about a surfing movie that = reminded me of Point Break, which I will admit, with shame, I somewhat enjoyed = when I finally saw it YEARS after vowing that it looked like the worst = movie ever, and I would never EVER ever watch it) and Red Dragon (both = the first and fourth Hannibal Lecter movie, strangely). So, without further ado: Website Claims Phony Fan Is a Studio = Shill An editorial writer for an Internet = movie fan site claimed Wednesday that he has traced the IP address of a person = who planted a rave review of the upcoming movie Blue Crush, starring = Kate Bosworth, on its message board to Universal Pictures' registered = corporate site, MCI.com. (As we reported previously, the same review was = posted on other movie fan sites.) The HollywoodBitchSlap.com writer, who = goes by the nom de plume "OZ" ("We're not giving out our personal = details.") claimed: "We've got them caught red-handed, and not once, but = twice!" (A similar message, he said, was posted for the upcoming Red Dragon.) After = Sony publicists admitted last year that they had invented a critic named = David Manning to praise the studio's movies in its ads and had used studio = employees in testimonial commercials, Universal publicity chief Terry = Curtin told the Washington Post, "I don't condone either of those practices, = nor have I done either of those practices." However, the = HollywoodBitchSlap writer asked, "What's the difference between paying your staff = to pretend to be film fans on websites across the country and paying them to = pretend to be happy customers in a TV commercial?" Curtin was not = available for comment at our deadline. --Mel Eperthener president, Gowanna Multi-media Pty, = Inc <A HREF=3D"http://www.webz.com/gowanna" = TARGET=3D"_blank">http://www.webz.com/gowanna</A> = ; <A = HREF=3D"mailto:bcassidy@usaor.net">mailto:bcassidy@usaor.net</A> &n= bsp; &n= bsp; <A = HREF=3D"mailto:gowanna@australiamail.com">mailto:gowanna@australiamail.c= om</A> West Coast = Video = = Gowanna MultiMedia = Pty 4614 Liberty = Avenue = PO Box 95184 Pittsburgh, PA = 15224 = Pittsburgh, PA 15223 (412) = 682-3900 &nbs= p; &nbs= p; TOLL FREE = COMING SOON!!!!! ____________________________________________ Look, I think we've all got = something we can bring to this discussion. But I think from = now on the thing you should bring is silence. ______________________________________________ [ To leave the movies mailing list, = send the message "unsubscribe ] [ movies" (without the quotes) = to = majordomo@xmission.com &n= bsp; ] </UL> </BODY> </HTML> - ------_=_NextPart_001_01C24560.FE549C10-- [ To leave the movies mailing list, send the message "unsubscribe ] [ movies" (without the quotes) to majordomo@xmission.com ] ------------------------------ End of movies-digest V2 #367 **************************** [ To quit the movies-digest mailing list (big mistake), send the message ] [ "unsubscribe movies-digest" (without the quotes) to majordomo@xmission.com ]