Set in post-WWI London, the movie follows Clarissa Dalloway as she goes about her preparations for a party she is to give that evening. Apart from the jarring and somewhat dislocating opening, the film remains remarkably faithful to the book. Towards the end, the movie lapses almost completely into voice-over, which eventually becomes rather irritating. This is, however, no fault of the actors, who are probably the best thing about the film. Vanessa Redgrave is Vanessa Redgrave and, as the lynchpin of the story, holds center stage with her usual poise. There's much to admire about this adaptation--the faithfulness of the script, the sensitive direction, the first-rate acting--but in the end it's just not enough to add up to a successful transference from novel to film. One comes away from this film with the feeling that it doesn't cut much ice with Virginia Woolf. Which gives this Mrs. Dalloway some claim to respect as a daring experiment--ultimately, it's a failure, but an honorable failure. --Lynn Y. Lee
Nil By Mouth
There is no doubt that Gary Oldman's poignant, visceral portrait of family life in seedy South London is an impressive piece of work--not to mention a sterling, writing/directing debut for Oldman. Nil takes no prisoner. From the outset, the film unleashes a barrage of unpleasantness, in the form of nonstop expletives, explosive bouts of chillingly realistic domestic violence and frequent screaming. The contaminating influence of American pop culture is everywhere, as indicated by choice shots of American brand names (Ford automobiles, Prozac "happy pills"), clips from American movies and glimpses of American cultural icons. Through a gray haze of depression, addiction and despair, Oldman and his cast somehow manage to salvage a sense of optimism and indomitable vitality from this tangle of wrecked lives. In doing so, they rescue the movie from wallowing in its own despair and self-pity. Be warned--it's not a happy ending, but it's not a miserable one either. --Scott E. Brown
Titanic
Although everybody knows how the movie must end, director James Cameron drains the tension by framing the story of the Titanic through the eyes of Rose (Kate Winslet), who tells about her romance with the impoverished passenger Jack Dawson (Leonardo DiCaprio). The two run the events of normal cinematic romance, and Cameron's script presents the lead actors with incredible cliches. Each of the other characters represents a segment of society rather than a person. As the ship breaks apart and its passengers choose between life and death, Titanic achieves an epic grandeur that the film may not deserve. Overall, the film is a pyrrhic victory for Cameron, --Jeremy Ross
Twilight
If nothing else, Robert Benton's film Twilight is an ode to a fading brand of screen legends. Paul Newman plays Harry Ross, an alcoholic former detective in Los Angeles dependent on his employers, retired actors Jack and Catherine Ames (Gene Hackman and Susan Sarandon). Harry becomes involved in a murder investigation after Hackman sends him to deliver a package to a mysterious woman. The essential features of film noir are in place in Twilight, which dutifully follows nearly every single convention of the genre. The inconsistencies in the film could be forgivable if the film had any dramatic urgency. Fortunately, nothing in Twilight fails prominently enough to completely doom the film. --Jeremy J. Ross
Wag The Dog
Wag the Dog is a wonderfully biting satire of the prevailing attitude which links show business to American politics. Two weeks before he is up for re-election, the president is accused of making advances on a Girl Scout; mysterious political consultant Conrad Brean (Robert De Niro) is called to resolve the catastrophe. Everyone gets brutally skewered in this film: politicians, filmmakers, actors, reporters and the credulous masses. The load eventually proves to be too much for the film to carry, but the film has to be admired for its sheer effort. Wag the Dog remains vastly entertaining even during its most tenuous moments. --Soman S. Chainani