\White Oleander"" follows the story of Astrid, (played by newcomer Alison Lohman) who endures a kaleidoscopic journey through the foster care system after Ingrid (Michelle Pfeiffer), Astrid's mother, murders her cheating lover (Billy Connelly).
Poignant performances from Renee Zellweger, Pfeiffer and Lohman carry the film as Astrid experiences three episodic encounters with different foster families. First, she lives with a spandex-wearing, former cokehead named Starr (Robin Wright Penn), whose role remains painfully caricatured by screenwriter Mary Donoghue. Even as Astrid's time with Starr concludes in an emotional climax, Starr's reaction to the situation seems ill-conceived as Penn's character allows minimal emotional range to achieve such a reaction.
With horror movie actress Claire (Zellweger), Astrid not only has her most rewarding foster experience, but the audience also enjoys the most touching and well-acted of the three foster episodes. Both believable and engaging, Zellweger shines in a standout performance as kind-hearted and lonely Claire. Astrid and Claire form an honest, realistic attachment toward one another, which inspires some of the best scenes of this film.
Lastly, Astrid tolerates her last foster home with female Russian money-grubber. The film glosses over Astrid's time here, failing to portray any character development. With a screenplay lacking insight into her emotional state, Astrid's transformation from blond to brunette is the only development the audience notices.
Throughout these encounters, interludes in prison between Ingrid and Astrid provide the backbone to the film. In their conversations, Ingrid encourages Astrid to adopt a pessimistic view of the world, preaching the necessity for a woman to protect herself against the wiles of men and claiming ""loneliness is the human condition."" Contemptuous and intriguing, the complex character of Ingrid'both beautiful and poisonous like the white oleander'is brought to life by Pfeiffer's skill in this challenging role.
Despite the valiant efforts of the actresses in ""White Oleander,"" the film's final scene results in a disappointing denouement between Ingrid and Astrid. However, the incredible acting in ""White Oleander"" compensates for the faltering script.
In recent films, there has been a noticeable lack of original, absorbing and cleverly directed martial arts films. Enter ""The Transporter,"" offering a stylish, stoic hero, original physical stunts, a hip soundtrack and most importantly, some of the most well-produced, brilliant and imaginative fight scenes ever captured on film.
The fruitful tandem of Hong-Kong action director Corey Yuen and writer/producer Luc Besson can take credit for continuing the revival of crafty, stylish action films begun by ""The Bourne Identity.""
In his tradition of using unconventional action heroes (such as Jean Reno), Besson casts former model and London street-hustler Jason Statham (noticeably beefier than he was in ""Snatch"") as criminal transportation specialist Frank Martin. Martin, amoral and disillusioned since leaving the British Special Forces, now contracts his talents to anyone in need of his services. Martin maintains a solitary, systematic life on the French Riviera with his substantial criminal earnings.
The exciting creativity of the film is present from the opening sequence, which features Martin arriving to pick up four robbers at the scene of the crime. The deal dictated only three and the deal never changes. With Martin unyielding as the police approach, the robbers kill one of their own, and now the deal can proceed.
Later, finding one of his packages squirming, Martin finds a young Chinese woman named Lai (Shu Qi). Lai introduces a plot to go along with the character development of Martin, and helps to continue the gradual exposure of humanity to be found beneath his detached facade.
The only real weakness of the film is a mid-way shift between the excellent focus and portrayal of the solitary, morose life of Frank Martin early in the film to the essentially non-stop action later in the film. The change in gear happens so seamlessly, though, that it's hard to realize that the thrust of film has really changed unless reflected upon after the movie. This is where director Yuen really shines, easily matching ""The Matrix"" in terms of quality and originality of the fight scenes. Statham, stiffer than a Hong-Kong action star, fights with a combination of agility and might.
While in reflection one may long for more looks into the troubled soul of Frank Martin, the astounding pugilistic feats of ""The Transporter"" more than compensate.
Sick. Disturbing. Sensitive. Romantic. These words sum up the drama ""Secretary"". Based on Mary Gaitskill's short story of the same name, ""Secretary"" is unlike any other movie released this year.
James Spader plays E. Edward Gray, a sadistic yet needy lawyer who gets his kicks from tormenting his masochistic young secretary Lee Holloway, played by Maggie Gyllenhaal. ""Secretary"" is Gyllenhaal's first starring role'hard to believe given her outstanding performance. And Spader nails his character's creepiness and pain perfectly.
""Secretary"" opens with Lee fresh out of a mental institution and reluctant to face the outside world. With an alcoholic father, a dopey mother (Lesley Anne Warren) and picture perfect sister, who can blame her?
Straight from the hospital, Lee goes to her sister's wedding. Here, all her old insecurities and fears come back. Determined to make a change in her life, Lee decides to apply for a job as a secretary. Her search brings her to E. Edward Gray's law office, who has been through so many secretaries that he doesn't even bother to take down the 'secretary wanted' post anymore. And thus, Gray and Lee's ""relationship"" and sexual psychoses begin.
The following large portion of the flick pushes the envelope of office politics and logic. Gray forces Lee to deliver letters to him on all fours and several other degrading stunts. To make the situation even weirder, Lee tolerates Gray's behavior and even starts to feel better about herself. In only a few short weeks, Lee has bounce in her step and color in her face. In fact, Lee becomes increasingly turned on as the abuse endures and asks Gray to continue when he stops periodically.
When Gray stops the abuse permanently, Lee goes into a tailspin and begs for him to continue in truly bizarre ways. The series of events that occur next between Gray and Lee is the apex of bizarre for this movie, but also slightly romantic.
""Secretary"" has a good premise that catches the subtleties of how far Gray and Lee are willing to go in hopes of filling their aching voids of pain and misery. However, certain portions and scenes in the movie mar this with plain stupidity that doesn't help anything.
All in all, a good movie to see for anyone who's preconceived notions of confusion, human nature and fantastic acting haven't been manipulated since ""Mulholland Drive.""
