A racist, alcoholic prison guard finds himself falling in love with an African-American woman who just happens to be the widow of a man he helped to execute in this film from Marc Forster (Stranger than Fiction, Finding Neverland). Halle Berry is stunning in her Oscar-winning performance, but so is the rest of the cast, including Billy Bob Thornton as the prison guard, Heath Ledger as his disenfranchised son, Sean Combs as Berry’s husband on death row, and Peter Boyle as Thornton’s monstrous father.
A terrific script and loveable characters send Toy Story soaring. At the heart of the simple storyline are two toys with character arcs as compelling as any of their live-action counterparts. Woody (Tom Hanks) is a pull-string cowboy who’s afraid of being replaced as his owner’s favorite, and Buzz (Tim Allen) is the new, gadget-enhanced astronaut who doesn’t accept the fact that he’s a toy. The Oscar-nominated screenplay (co-written by Joss Whedon) deftly blends character, humor, and action. The climax, where Woody and Buzz chase after a moving truck to rejoin their fellow toys, is a particularly thrilling scene. The voice cast is also a triumph, including Wallace Shawn as a neurotic dinosaur, Don Rickles as a bitter Mr. Potato Head, and Jim Varney as a trusty Slinky Dog. Randy Newman’s score makes the plight of plastic playthings nothing less than epic, and his cozy songwriting fits the nature of the film to a tee. “You’ve Got a Friend in Me” is the film’s charming anthem, but it’s Newman’s performance of “I Will Go Sailing No More,” played over Buzz’s realization of his limitations, that works most powerfully.
It doesn’t matter whether you think Oswald acted alone or not. Oliver Stone’s JFK is stunning in its craftsmanship and enthralling in its narrative construction. If you’re only casually familiar with the people and events surrounding Kennedy’s assassination and the conspiracy theories about it, brace yourself for a fast-paced, provocative, emotionally compelling story that is sure to make you drop your jaw and raise your eyebrows.
Kevin Costner’s ambitious ode to the American frontier is grand, romantic storytelling at its best. And talk about an underdog. People were calling it ‘Kevin’s Gate’ months prior to release — and why shouldn’t they? A three-hour long western with most of its dialogue in Lakota Sioux? How could such a movie find an audience, much less sweep the Academy Awards?
