Jeff, B; Dave, B. R for sexual situations, violence, profanity. Harry Barber is a good guy who tries to go bad but can't. Two years ago, Harry was set up and thrown into prison for being honest. He refused to take a payoff. Just out of prison, bitter and disillusioned, he meets Rhea Malroux, who has a sweet deal for him.
She asks him to take part in a phony kidnaping of her stepdaughter. Of course, nothing is that easy. It is truly great, every once in awhile, to see a film surface to the silver screen with the look and feel of classic noir. In "Palmetto," we are quickly introduced to the sweaty surroundings of a seaside Florida town and the bum-luck hero of a newspaper reporter, Harry Barber Woody Harrelson.
From then on the film takes pleasure in adapting itself into the sultry world of "color noir. Way to go, Dave. Just change the entire concept. A man wrongly accused. A sexy, yet deadly, femme fatale. Cigarettes, alcohol, sex, rain, anguished faces and betrayal. Yes, Harry is a sucker, led off the path of honesty by a woman's desires and deadly ambitions, yet Harry isn't a professional criminal.
He thought he was always one step up when he was really two steps back. He is over his head and he can't get out. Barber is performed to perfection by Harrelson, the Dana Andrews of the '90s. And as for Elisabeth Shue, she is perfect as the sexy partner in crime, femme fatale to Harrelson's sometimes goofy, bumbling antics. The scene stealer is Chloe Sevigny, who plays Odette, the kidnaped daughter. Her screen presence oozes with passion -- mixed with trashy outfits, to boot.
Who are you, Bruce Springsteen? First off, "color noir" is the same principle as "film noir" except for the fact that it is in color as opposed to black and white.
It is what differentiates the two. Like Ridley Scott's "Blade Runner" or "Black Rain" and Stephen Frears' "The Grifters," for example, they are in color, but the dark themes and the manipulation of light is still present, creating the familiar aesthetics associated with "contemporary film noir" -- hence, "color noir"!
As for our naive hero, Harrelson plays him with smooth confidence, yet vulnerably weak. His touches of humor, mixed with his character's "I meant to do that" attitude are nice subtleties and add a bit of dry comic relief. Today's new phrase is "color noir. I would like to take the time to make up new terms for movies, but I'll leave that to Roger Ebert and his movie-going glossary.
I was a nervous wreck throughout "Palmetto. I was drawn into the story to the point that I became uneasy, and every twist and turn in the intricate plot had me feeling that I was Harry Barber. Barber has the unfortunate task of changing a flat tire in a downpour, and tries to prevent a helpful cop from discovering a body he has stashed inside his trunk. I lost a fingernail during that scene. The fictional town of Palmetto has a sticky, slothful mood, with a trace of fabled Southern hospitality and a hint of gaudy touches from the '50s.
Cinematographer Thomas Kloss captures the images of betrayal and seduction in a "color noir" style that sets it apart from the others. I think Jeff likes to read what he writes, kind of like the people who talk because they like the sound of their voice. Anyway, credit veteran director Volker Schlondorff "The Tin Drum" for mixing innovative camera work with his ability to tell an intriguing story. The entire cast play their roles to par, with the exception of Gina Gershon, whose character seemed to take things rather lightly under her extreme circumstances.
For instance, she learns her lover, Harry, is involved in murder and deception and she appears to be OK with this? Not to mention the dead body in the trunk of her car and the manner of its disposal. I don't think so. To go into detail about why "Palmetto" was so captivating would ruin most of the cool twists and turns hidden within the story.
I don't want to ruin the surprises. Full of sex, passion and betrayal, "Palmetto" is a place worth visiting -- just be sure to leave your morality at the city limits. An Evening of Independent Film. Arliss Loveless, who is plotting to assassinate President Ulysses S. Grant and take over the United States.
Special government agent James West Smith , long on charm and wits, and master of disguise Artemus Gordon Kline are sent to track down Loveless. The two agents begin as competitors, only to decide that pooling their talents is the best way to defeat the villain. Production begins in April for a late '98 release. The Hollywood Shuffle continues! DreamWorks recently announced that its first full animated film, "Prince of Egypt," would move out of a Thanksgiving slot to Dec. Soon after DreamWorks' announcement, Disney bullied their way onto the same December date with the former summer release "Mighty Joe Young.
The Mickey Mouse company is also preparing to re-release '93's "Beauty and the Beast. It's beginning to look a lot like Christmas. Not only was this one of the worst movies to foul the screen in '97, but it is filled with every action cliche in a filmmaker's book.
In order to clear his name, Wayans teams with a beautiful doctor Jill Hennessy and a government official a bored Paul Sorvino to expose the truth behind the conspiracy. The film is littered with bad dialogue, dull characters and more exaggerated car chases and dives off of buildings than you can shake your remote control at.
First of all, Keanu Reeves as an attorney? Don't make me laugh. Reeves delivers his lines as if he was surfing at Malibu. And Pacino as the devil? How come it takes almost the entire length of the movie to let us in on the devil's plan? It would be nice if Pacino was in the movie more, too. This movie should be left on the video store shelf. This is just a remake of "The Firm," with the Satanic verses.
Steven Spielberg's "Amistad" was nearly shut out, save for Anthony Hopkins' nomination as best supporting actor. We would bet any amount of Oscars that if some no-name filmmaker directed an epic film about the historic trial of the slave ship Amistad, that director would have gathered a few more Oscar nods, including those for best picture and director. Another director who seems to have gotten snubbed was James L.
Probably the biggest shocker is that Cameron's original screenplay for "Titanic" was not honored. The academy passed on giving a nomination to actor Ian Holm for "The Sweet Hereafter" for what could possibly be the best performance of the year, but did acknowledge "Hereafter's" Atom Egoyan for his direction and outstanding writing. So, who really knows which way the Oscar wind blows?
We have a pretty good idea. This year, the sweet smell of success is in the air for what will be, no doubt, the most exciting Oscar telecast in recent years. It will make superstars out of newcomers and bring renewed respect and prestige to old favorites. Admittedly, an act of madness. Well, I'll tell you what happened. I just ran out of bulls By the way, when Will phoned, he said he was mad as hell and he wasn't going to take it anymore.
As for this week, what Oscar-winning actor said this, and in what movie: Then they will have my dead body not my obedience. Have you heard it before? No throwing popcorn at the screen. Thank you -- The Management. You can also read their capsule reviews of movies in Scope magazine; listen to their reviews and commentary every Friday at 7 p. Plus, check them out online at: