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- In this mesmerizing and suspenseful film, a woman (Kidman) becomes convinced that a ten-year-old boy is the reincarnation of her dead husband.Running Time: 100 min. Format: DVD MOVIE Genre:Â ACTION/ADVENTURE Rating:Â R Age:Â 794043783821 UPC:Â 794043783821 Manufacturer No:Â N7838
Genre: Feature Film-Comedy
! Rating: R
Release Date: 7-AUG-2001
Media T! ype: DVDIf anyone ever doubts whether Nicole Kidman is a good actress, they should immediately be required to watch this outrageously wicked comedy from 1995, for which Kidman deservedly won a Golden Globe for Best Actress in a Leading Role. While director Gus Van Sant handles the fact-based satire with razor-sharp precision, Kidman delivers a deliciously devious performance as Suzanne Stone, a small-town New Hampshire housewife who fancies herself the next Barbara Walters, Jane Pauley, Diane Sawyer, and Maria Shriver all rolled up into one meticulously coiffed package. So determined is she to have a successful career on TV that she'll stop at nothing--even the calculated murder of her husband (Matt Dillon)--to get the attention she feels entitled to. To carry out her scheme she recruits some unwitting local teenagers including one boy (Joaquin Phoenix, matching Kidman's excellence) whose infatuation with Suzanne leads to sexual escapades and predictably troublesome consequences! . It's a satirical comedy in Van Sant's capable hands, but it's so close to tabloid reality that the film never seems implausible--which only gives it a funnier, more blood-chilling quality of humor. Featuring Illeanna Douglas, George Segal, and Seinfeld alumnus Wayne Knight in memorable supporting roles, this is one of the best comedies of the '90s--especially if you prefer comedies with a decidedly darker edge. --Jeff ShannonScreen sensation Nicole Kidman (MOULIN ROUGE, EYES WIDE SHUT) delivers an utterly unforgettable performance in this scary and stylish suspense thriller. While awaiting her husband's return from war, Grace (Kidman) and her two young children live an unusually isolated existence behind the locked doors and drawn curtains of a secluded island mansion. Then, after three mysterious servants arrive and it becomes chillingly clear that there is far more to his house than can be seen, Grace finds herself in a harrying fight to save her children ! and keep her sanity. Acclaimed by critics everywhere, the unpr! edictabl e twists and turns of this compelling hit will keep you guessing as it keeps you riveted to the edge of your seat!A welcome throwback to the spooky traditions of Jack Clayton's The Innocents and Robert Wise's The Haunting, Alejandro Amenábar's The Others favors atmosphere, sound, and suggestion over flashy special effects. Set in 1945 on a fog-enshrouded island off the British coast, the film begins with a scream as Grace (Nicole Kidman) awakens from some unspoken horror, perhaps arising from her religiously overprotective concern for her young children, Anne (Alakina Mann) and Nicholas (James Bentley). The children are hypersensitive to light and have lived in a musty manor with curtains and shutters perpetually drawn. With Grace's husband presumably lost at war, this ominous setting perfectly accommodates a sense of dreaded expectation, escalating when three strangers arrive in response to Grace's yet-unposted request for domestic help. Led by houseke! eper Mrs. Mills (Fionnula Flanagan), this mysterious trio is as closely tied to the house's history as Grace's family is--as are the past occupants seen posthumously posed in a long-forgotten photo album.
With her justly acclaimed performance, Kidman maintains an emotional intensity that fuels the film's supernatural underpinnings. And while Amenábar's pacing is deliberately slow, it befits the tone of penetrating anxiety, leading to a twist that extends the story's reach from beyond the grave. Amenábar unveiled a similarly effective twist in his Spanish thriller Open Your Eyes (remade by Cameron Crowe as Vanilla Sky), but where that film drew debate, The Others is finely crafted to provoke well-earned goose bumps and chills down the spine. --Jeff ShannonThis is the extraordinary story of Becca and Howie. Eight months ago, they had a picture-perfect life with their young son. Now, they are posing as normal in the wake of an enormous loss; ! blindly looking for footing in a sea of new emotions. This is ! the rema rkably moving journey of a couple finding their way back to love.What happens after the unthinkable happens? Rabbit Hole, based on the Tony-winning play by David Lindsay-Abaire and deftly directed by John Cameron Mitchell, slowly reveals the answer: something else unthinkable. Rabbit Hole is a moving, dark character study of what happens to a happily married couple, Becca and Howie (Nicole Kidman and Aaron Eckhart), who suddenly lose the love of their life, their 4-year-old son. As in real life, the grief portrayed in Rabbit Hole takes peculiar twists and turns, and the deep sorrow and tragedy of the story is leavened by dark humor--much of it coming from Kidman. While Rabbit Hole is not an upbeat film, it's emotionally resonant in the ways of some of the best films on similar subjects--like Ordinary People, Revolutionary Road, In the Bedroom. Both Kidman and Eckhart bring true humanity to roles that could have been one-dimens! ional. Kidman, especially, rejects the platitudes offered by the grievance support groups and well-meaning friends. When one acquaintance explains the loss of her own child as, "God needed another angel," Kidman's Becca snaps. "Then why wouldn't He have just made another angel? He's God, after all. Why not just make another angel?" The beauty and power of Rabbit Hole comes from showing how Becca and Howie make it back to a life they can bear--and, just maybe, to each other. The excellent supporting cast includes Sandra Oh (another member of the support group) and Dianne Wiest as Becca's mom, who's been through something similar. Everything about Rabbit Hole feels genuine, almost delicate, from the cinematography to the gentle but extremely moving score. Rabbit Hole is one of the most moving dramas and one of the saddest films a viewer will feel gratified to embrace. --A.T. HurleyNicole Kidman (Academy Award(R) Winner -- Best Actress, THE H! OURS, 2002) stars with Academy Award(R) winner Renée Zellwege! r (Best Supporting Actress, COLD MOUNTAIN, 2003) and Academy Award® nominee Jude Law (Best Actor, COLD MOUNTAIN). At the dawn of the Civil War, the men of Cold Mountain, North Carolina, rush to join the Confederate army. Ada (Kidman) has vowed to wait for Inman (Law), but as the war drags on and letters go unanswered, she must find the will to survive. At war's end, hearts will be dashed, dreams fulfilled, and the strength of the human spirit tested ... but not broken! Directed by Academy Award® winner Anthony Minghella (Best Director, THE ENGLISH PATIENT, 1996).Freely adapted from Charles Frazier's beloved bestseller, Cold Mountain boasts an impeccable pedigree as a respectable Civil War love story, offering everything you'd want from a romantic epic except a resonant emotional core. Everything in this sweeping, Odyssean journey depends on believing in the instant love that ignites during a very brief encounter between genteel, city-bred preacher's daughter Ada (Nic! ole Kidman) and Confederate soldier Inman (Jude Law), who deserts the battlefield to return, weary and wounded, to Ada's inherited farm in the rural town of Cold Mountain, North Carolina. In an epic (but dramatically tenuous) case of absence making hearts grow fonder, Inman endures a treacherous hike fraught with danger (and populated by supporting players including Philip Seymour Hoffman, Natalie Portman, and others) while the struggling, inexperienced Ada is aided by the high-spirited Ruby (Renée Zellweger), forming a powerful farming partnership that transforms Ada into a strong, lovelorn survivor. The film's episodic structure slightly weakens its emotional impact, and it's fairly obvious that director Anthony Minghella is striving to repeat the prestigious romanticism of his Oscar®-winning hit The English Patient. For the most part it works, especially in the dynamic performances of Zellweger and Kidman, and the explosive 1864 battle of Petersburg, Virginia, i! s recreated with violent, percussive intensity. Those who admi! red Fraz ier's novel may regret some of the changes made in Minghella's adaptation (the ending is particularly altered), but Cold Mountain remains a high-class example of grand, old-fashioned filmmaking, boosted by star power of the highest order. --Jeff ShannonSomething terrifying has come to Earth, something that attacks us while we sleep and turns us into soulless replicants. The clock is ticking as Washington, DC psychiatrist Carol Bennell (Nicole Kidman) and her colleague Ben Driscoll (Daniel Craig) embark on a heart-stopping journey into a nightmarish world where the only way to stay alive is to stay awake. No one can be trusted. No one is safe in producer Joel Silver's bold new take on Jack Finney's classic novel The Body Snatchers.
Don't fall asleep! The Invasion is here.The Invasion deserves a second chance on DVD. This ambitious sci-fi thriller represents a flawed yet worthy attempt to bring contemporary vitality to Jack Finney's clas! sic science fiction novel, previously filmed as Don Siegel's 1956 classic Invasion of the Body Snatchers, Philip Kaufman's suspenseful 1978 remake, and Abel Ferrara's highly underrated Body Snatchers from 1994. And while those earlier films are superior in many respects, The Invasion is not without strengths of its own, particularly for those who prefer action and suspense. Unfortunately these strengths were compromised by the unpredictable misfortunes of production: Original director Oliver Hirschbiegel (hired on the strength of Downfall) was eventually replaced by James McTiegue (V for Vendetta), and the Wachowski Brothers (of Matrix trilogy fame) added high-octane action sequences to the original screenplay by David Kajganich. Perhaps the movie had a curse on it (star Nicole Kidman was almost seriously injured in a stunt-car mishap during last-minute reshoots), but it's really just a matter of disparate ingredients that don't alw! ays fit together, resulting in a slick-looking film that can't! decide if it's a sci-fi mystery, action thriller, or political allegory. It tries too hard to be all things at once.
Despite this, Kidman rises to the occasion with a solid performance as Carol, a Washington, D.C. psychiatrist who's convinced (with the help of costars Daniel Craig and Jeffrey Wright) that a flu-like virus is spreading throughout the population, its alien spores turning victims into soulless "pod people"... only in this case without the pods. The idea is that you'll be fine if you don't fall asleep, and especially if you don't let anyone sneeze or vomit on you. (There's a lot of vomiting; don't say you weren't warned.) With a crashing space shuttle to deliver the alien threat, cute tyke Jackson Bond as Carol's threatened son, and a nod to Kaufman's film with a small role for Veronica Cartwright, The Invasion will surely fare better on DVD than it did in theaters. If nothing else, it proves the timeless relevance of Finney's original premise, which continu! es to inspire a multitude of variations. --Jeff ShannonFrom the window of her immaculate New York apartment, lonely housewife Diane Arbus (Kidman) locks eyes with a masked figure on the street, a mysterious new neighbor (Downey, Jr.) whose penetrating gaze strips the veneer off her tidy reality. Mysteriously drawn to the man that intrigues her and determined to take his photograph, Diane ventures to his apartment and embarks on a journey that will unlock her deepest secrets, awaken her remarkable artistic genius, and launches Diane on her path to becoming the artist she is meant to be.Modeled loosely on Patricia Bosworth's 1984 biography, Fur opens with an independent, working Diane Arbus (Nicole Kidman), free of the familial restraints that previously prevented her from making art. Flashing back three months, the viewer comes to learn that she has just left her husband and children to photographically investigate her fetishes through observing the extraordina! ry. When Lionel (Robert Downey Jr.), a wig-maker who suffers f! rom hype rtrichosis, or excessive hair growth, moves into Arbus's apartment building with his entourage and basement full of carnival props, Arbus is seduced by this opportunity to visually feast on freaks. The split with her conventional family becomes inevitable. Confusing love with her desire to make art, Arbus is overwhelmed when Lionel perishes, though its made clear to the viewer that this event provides Arbus necessary artistic impetus. Early scenes establishing Arbus's distaste for society parties, such as the fur fashion show her parents host, her boredom during her husband's dull, ridiculous commercial photo shoots, and her initial fascination with Lionel and his bizarre friends are strange and funny, successfully separating Arbus from the 'average' people surrounding her. But as Lionel and Arbus fall in love, pretentious whispering replaces their regular conversations, and overacting spoils Lionel's death scene, in which they both float dramatically through the ocean, foll! owed by Arbus crying in the surf like a weenie. Arbus desperately huffing air from a life raft Lionel inflated before he died is completely cheesy. The tortured artist myth has, once again, been pushed too far. For a film that has such fine costuming, production design, and cinematography, it's a shame that Fur succumbs to that Hollywood convention of reducing the entire plot to a tragic love story. For a project with so much potential, and with so many Arbus fans eagerly awaiting this tribute to the great photographer, it's unfortunate that Fur falls flat, due mostly to injected sentimental melodrama in scenes where it has no place. If Arbus sought to expel saccharine emotionality from portrait photography, then it's odd that a biopic dedicated to her memory would be so unabashedly corny.--Trinie DaltonA spectacle beyond anything you've ever witnessed. An experience beyond everything you've ever imagined. Behind the red velvet curtain, the ultimate sed! uction of your senses is about to begin. Welcome to the Moulin! Rouge! Nicole Kidman and Ewan McGregor sing, dance and scale the heights of passionate abandon in the year's most talked-about movie from visionary director Baz Luhrmann (William Shakespeare's Romeo + Juliet, Strictly Ballroom). Enter a tantalizing world that celebrates truth, beauty, freedom and above all things, love.A dazzling and yet frequently maddening bid to bring the movie musical kicking and screaming into the 21st century, Baz Luhrmann's Moulin Rouge bears no relation to the many previous films set in the famous Parisian nightclub. This may appear to be Paris in the 1890s, with can-can dancers, bohemian denizens like Toulouse-Lautrec (John Leguizamo), and ribaldry at every turn, but it's really Luhrmann's pop-cultural wonderland. Everyone and everything is encouraged to shatter boundaries of time and texture, colliding and careening in a fast-cutting frenzy that thinks nothing of casting Elton John's "Your Song" 80 years before its time. Nothing is original in this! kaleidoscopic, absinthe-inspired love tragedy--the words, the music, it's all been heard before. But when filtered through Luhrmann's love for pop songs and timeless showmanship, you're reminded of the cinema's power to renew itself while paying homage to its past.
Luhrmann's overall success with his third "red-curtain" extravaganza (following Strictly Ballroom and William Shakespeare's Romeo & Juliet) is wildly debatable: the scenario is simple to the point of silliness, and how can you appreciate choreography when it's been diced into hash by attention-deficit editing? Still, there's something genuine brewing between costars Ewan McGregor and Nicole Kidman (as, respectively, a poor writer and his unobtainable object of desire), and their vocal talents are impressive enough to match Luhrmann's orgy of extraordinary sets, costumes, and digital wizardry. The movie's novelty may wear thin, along with its shallow indulgence of a marketable soundtrack, but Luh! rmann's inventiveness yields moments that border on ecstasy, w! hen soun d and vision point the way to a moribund genre's joyously welcomed revival. --Jeff ShannonIn this mesmerizing and suspenseful film, a woman (Kidman) becomes convinced that a ten-year-old boy is the reincarnation of her dead husband.
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