BEYOND SILENCE (R)

Sylvie Testud is absolutely winning as a young woman whose love of the clarinet serves as a wedge between her deaf parents and her dreams of becoming a talented musician. Lara has spent her whole life acting as a go-between for her parents and the hearing world. When Lara’s musician aunt gives her a clarinet, the gift opens up a whole new world for her. She begins to experience a freedom from her ordinary life, a freedom that scares and upsets her parents. Director and co-writer Caroline Link does a splendid job of creating a love story that has much more on its mind. “Beyond Silence” deals with complex themes in an adult manner, and even though it may be unpleasant in moments, it’s always compelling. (Miramax)

CLOWN AT MIDNIGHT, THE (R)

No, it’s not a horror movie starring Ronald McDonald and Jack-In-The-Box, although that would be an improvement. “The Clown at Midnight” is a standard issue thriller that tries to have it’s opera and sing it too, or something like that. Sarah Lassex stars as Kate, a student who agrees to help restore an old opera house over her summer vacation. Indeed, there are phantoms lurking in the shadows, and before Kate can say Pagliacci her friends start ending up dead. Gosh, what some people will do to avoid opera. This Canadian import favors “Scream” as it source of choice, even though it strives to be much more than a teen slasher flick. To that degree, the presence of veterans Christopher Plummer and Margot Kidder are welcome. Still, there’s not much for anyone to do as they wait around for the killer to strike again. Like all films of this genre, “The Clown at Midnight” has its fair share of profanity, violence, mayhem and sexual exploitation. Now that’s what I call opera. (Artisan)

FETISHES (NR)

Something kinky from documentary filmmaker Nick Broomfield (“Kurt & Courtney,” “Heidi Fleiss: Hollywood Madam”). Broomfield takes his camera inside Pandora’s Box, one of New York City’s most infamous S&M parlors. Once inside, Broomfield has no problem documenting the relationship between dominatrix and slave. Those unfamiliar with sadomasochistic practices might be offended or turned off. Those curious enough or fans of the practice will be fascinated buy the variety of subjects who are willing to turn their kinkiest dreams into documentary fodder. Produced for HBO, “Fetishes” is candid and sexually frank. Broomfield and his subjects don’t hold back, and what emerges is a candid look at a taboo subject. (A-PIX)

GOVERNESS, THE (R)

Minnie Driver is stunning as a young woman in London in the early 1840’s who stays within the confines of the Jewish community in which she and her family live. Rosina Da Silva (Driver) dreams of becoming an actress, but understands the limits of her life. She is the apple in the eye of her father, but when he is murdered, Rosina learns that she is to be married against her wish in order to help support her family. Vowing to support her family out of the confines of an arranged marriage, Rosina learns that her heritage is a stumbling block in getting a job. So she becomes Mary Blackchurch, sails to a small Scottish island, and becomes a Governess to the well-to-do Cavendish family. Using her acting skills to hide her true identity, Rosina insinuates herself into the family, eventually falling in love with the man of the house. When the husband’s son comes home from school, he too falls under Rosina’s spell. Gosh, it must be tough being Minnie Driver. Writer-director Sandra Goldbacher does an excellent job of making us care about Rosina, even under the most trying of circumstances. How she wipes the slate clean in order for Rosina to find true happiness makes for a riveting finale. Tom Wilkinson is fine as the turncoat husband, while Harriet Walter manages to keep a stiff upper lip as the ignored wife. (Columbia-TriStar)

LEGIONNAIRE (R)

Quite possibly the most expensive direct-to-video film in history, “Legionnaire” stars Jean- Claude Van Damme as a French boxer who joins the French Foreign Legion to escape from the clutches of a local crime syndicate. Set in 1925, “Legionnaire” features exquisite period design and gorgeous scenery. Unfortunately, it’s nothing more than window dressing for a standard- issue sand and camel epic that seems to go on forever. While Van Damme looks good in his tight fitting uniform, his character and dialogue seem as stifled. The film begins promisingly enough. When boxer Van Damme fails to take a dive during an important match, he finds himself on the run for his life. Like all good men looking to start a new life, he joins the French Foreign Legion, where he undergoes a grueling desert version of boot camp, and is then sent off to fight in one of the most tragic battles in Legion’s history. It all sounds important, and director Peter MacDonald does his best to make it look that way, yet the film never rises above the level of mediocre. The ending is an extended battle that never ends. At least Van Damme looks cute in his little hat. (Sterling Home Entertainment)

ONE TRUE THING (PG-13)

You’ll laugh! You’ll cry! You’ll pay to see Meryl Streep kiss her butt goodbye! There isn’t any living actress on the face of this Earth who can hold a candle to Meryl Streep. She’s truly amazing. She can do anything, and that includes saving the teary-eyed chick flick “One True Thing” from slipping into maudlin. Streep is so cheerful and honest in her portrayal of super mom and wife Kate Gulden that I wanted her to be my mom. She bakes, she cleans, she tends to everyone else’s needs, and does so with a smile on her face and a disposition that would gag Kathy Lee Gifford. She’s the perfect mom and wife, so it’s safe to assume before the final reel is over, she’s dead meat. “One True Thing” is a chick bonding film that isn’t afraid to wear its heart on its sleeve. Ladies, bring your hankies. Renee Zellweger, so good in “Jerry Maguire,” continues to impress here as the distant daughter who gets caught up in her mother’s life when she learns she has cancer. An ambitious writer working for the New Yorker, Ellen Gulden (Zellweger) is the polar opposite of her mother. She’s unhappy, her love life is a mess, and she can’t seem to reconcile yesterday’s business much less the baggage she carries from her past. To that degree, Kate and Ellen need each other. It’s up to father and husband George (William Hurt) to bring them together, if only for selfish reasons. I really wanted to like this tale of female bonding, but I was on my period that day and pretty much hated everything. (Universal)

SINCE YOU’VE BEEN GONE (R)

David Schwimmer directed and stars in this common comedy about a ten year high school reunion and the effect it has on several participants. Not nearly as observant nor as witty as either “Romy & Michele’s High School Reunion” or “Grosse Point Blank,” “Since You’ve Been Gone” is predictable and ultimately cruel. A cast of familiar faces arrive for the 10th reunion of Clear View High School, including the loathsome class president Rob Leavitt (Schwimmer), Teri Hatcher as the class beauty with a dark secret, Lara Flynn Boyle as the vindictive class mate who shows up to get even with everyone, plus cameos by Molly Ringwald, Liev Schreiber, Jon Stewart, Jennifer Grey, and Marisa Tomei. There are no surprises, and all of the characters in Jeff Steinberg’s screenplay are either cliches or one dimensional. Even though it’s rated R, “Since You’ve Been Gone” isn’t nearly as raucous as it could be. (Miramax)

SNAKE EYES (R)

Brian De Palma’s political thriller begins with an amazing 20 minute extended shot that cleverly follows Atlantic City police detective Rick Santoro (Nicolas Cage) on his rounds at a high- profile boxing match. The shot establishes the time and place and introduces all of the pivotal players. It’s a brilliant shot, the kind that De Palma excels at. De Palma is also a master of mystery and suspense. Unfortunately, “Snake Eyes” isn’t one his better films. The rest of the film never fully recovers from that opening shot. It’s like De Palma shot his wad at the table, and then kept rolling craps the rest of the night. Unlike his previous films, where the clever cinematography was incorporated into the story, the dazzling camera work in “Snake Eyes” clubs you over the head. Hey look at me, isn’t this neat? Yeah, right. It doesn’t help that De Palma is working from a ludicrous script by David Koepp, one filled with cartoon-ish characters and outrageous plot devices and holes. When a high ranking government official is assassinated during the championship fight, Santoro must sort through the 14,000 fans to find the killer. There’s all kinds of red herrings, some believable, others totally off the wall. The supporting cast, from Gary Sinise as Santoro’s lifelong friend to Carla Gugino as a mystery woman, all seem to blend into the background. (Paramount)

SOLDIER (R)

Things to do this weekend:

#1: Laundry.

#2: Grocery Shopping.

#3: Clean Windows

#4: Take Betty White for her flea dip

#5: Have my head examined

Actually, I should have done #5 before I went to see “Solider,” quite possibly one of last year’s worst movies. If Hollywood were to have a Crap-Fest, “Soldier” could be the opening night premiere. Directed with an iron fist by Paul Anderson (“Event Horizon”) from a sub-standard and overly familiar screenplay by David Webb Peoples, “Soldier” is a mishmash of ideas that never gel. Kurt Russell stars as Sgt. Todd, raised since infancy to become an intergalactic warrior. He’s the best of the best, and proves it war after war. Like all good fighting machines, Todd is replaced (left for dead is more like it) by a newer, more improved model. Dumped on a garbage planet, Todd is befriended by the survivors of a shuttle crash who have used the debris dumped on the planet to create a small village. Abandoned and betrayed, Todd feels compelled to stand up and fight for the nomads when the Army decides to use the planet for their next training mission. Everything about “Soldier” looks and sounds familiar. The dialogue is sparse yet trite, the performances only average. You’ve seen it all before. (Warner Home Video)

WELCOME TO THE WOOP WOOP (R)

Fans of writer-director Stephan Elliott’s “Priscilla: Queen of the Desert” will enjoy this comical romp about a New York con man who escapes to the Australian Outback to get away from it all. Johnathon Schaech (“That Thing You Do”) is delightful as Teddy, the con man who thinks he can lose his problems in the vast Outback. Teddy gets his wish when he picks up a female hitchhiker and winds up in the small town of Woop Woop, where strangers are welcome but no one is allowed to leave. Filled with whimsy and comical situations, “Woop Woop” features delightful performances from Schaech, who wears the stranger in a strange land hat extremely well, and Rod Taylor as the local patriarch who insists that the local radio station and movie theater play on Roger and Hammerstein musicals. It’s a strange little town, ripe for satire and off beat moments, the kind of humors director Elliott excels at. While not nearly as affecting as “Priscilla,” “Woop Woop” is a delightful wrong turn. (Orion)

ALSO NEW THIS WEEK:

DOLLAR FOR THE DEAD (NR/Warner)

FAMILY OF COPS 2, A (PG-13/Trimark)

FIRST LOVE, LAST RITES (R/Trimark)

SCARLET TUNIC, THE (NR/BWE)

VULCAN (PG/New Horizons)

This entry was posted on Friday, February 8th, 2002 at 4:39 am and is filed under Film Review. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.