I Monday November 3, 2003 michigandaily.com artseditor@michigandaily.com iRTS 8A Simply touching 'Station Agent' By Hussain Rahim Daily Arts Writer MOVIE REVIEW r ._j I'm so tired of independent movies with the same old plot of railroad-lov- ing dwarves who inherit train depots in rural New Jersey. Herein lies the plot of writer/director Thomas McCarthy's feature debut "The Station Agent," which arrives straight from the film festival circuit. This story is a look at isolation and the different ways people connect and disconnect themselves from the world. 4 By Zach Mabee Daily Arts Writer When "Finding Nemo" conquered the seven seas and became the new benchmark of Disney's big screen suc- cess, there was little doubt that future efforts would pale when compared to such an inimitable and beautifully unique standard. "Brother Bear" is the newest of these failures, but that's hardly calling it a poor movie. "Bear" tells the tale of Kenai, a young, adventurous Native American boy, who is transformed by sky-dwelling Brother Bear spirits into his greatest beastly foe: a At Showcase bear. In animal form, Kenai journeys Disney the wild, passionately searching for self and enlightenment. Along the way he befriends a fellow cub, Kudo, and two aimless moose, Rutt (Rick Moranis) and Tuke (Dave Thomas). All the while, Kenai's human brother is hunting him relentlessly, hop- ing to bag the grizzly he doesn't know to be his brother. Simply put, "Bear" is standard Disney fare and doesn't distinguish itself from the com- pany's myriad other animated releases. It's } an innocuously encouraging and heartwarm- ing story of self-realization driven through- out by a gleeful Phil Collins (and Tina Turner on several tracks) soundtrack that, depending on your demeanor, will either brighten your day or annoy you greatly. Much of the animation is simplistic, in stark con- trast to "Nemo"'s surreal, overwhelming visual onslaught, and at times, it almost seems rudi- mentary. The landscape art tends to be underdeveloped; however, in the end, some majestic shots of the bear haven to which Kenai and company travel compensate for any such shortcomings. Dialogue and comedy also aren't priority in "Bear" as they tend to be in the majori- ty of Disney pictures. There are laugh-d able moments, but they punctuate longer droughts and aren't nearly as sharp or allusive as those we saw in "Nemo" and other animated greats. The script is definitely family oriented and not intended to be as referential or corrosive as some of its contemporaries. It seems, though, that the overarching aim of the project itself is to be entertaining, wholesome, but perhaps more sterile than its predecessors. It will keep children engaged and garner some chuckles and smiles from complacent adults, but those who've experienced the purest greatness of animation will likely leave with a feeling of indifference and yearn- ing for something better. It is a rumination of loneliness - three different kinds to be exact - as well as friendship. Left alone by the death of his only friend, The Station Agent At the State Theater Miramax Second star to the left and straight on 'til morning. Fin (Peter Dinklage) is bequeathed a small depot and the chance to alienate himself from the world. With an incred- ible cast of perfectly portrayed charac- ters, this movie is an exercise in naturalism. There is a highly realistic feel of participation as you watch these disparate lives collide and then search for a way to make the pieces fit. Using the rare directing technique of subtlety, it feels like McCarthy consciously steps back to let his char- acters, as well as the unusual but effective location of rural New Jersey, shine. Boy does it work. The location is tiny so the characters can't help but constantly interact and develop. New- foundland, N.J. has a confining nature to it, where it seems the characters can't get away from each other no matter how much effort they put in. This situation gives a certain charm and definite humor to the film as these characters squirm around one another and search for common ground. McCarthy utilizes incredible shots to emphasize the intense soli- tude and small stature of Fin. Although his separation from the world may be a self-exile, it is obvi- ous that not many people reached out to him along his route there. Dinklage gives a beautifully subtle performance as the taciturn recluse, who along the way completely destroys the mystification of the dwarf and gives a true portrayal of the reticence someone might have to a lifetime of ignorant looks and ques- tions. Patricia Clarkson ("Far From Heaven") works well as a devastated maladroit artist struggling for purpose and connection after losing a young son. Bobby Cannavale follows suit in the role of garrulous substitute vendor searching for friendship and any way to pass the time. An awkward agree- ment of friendship arises between the three of them, with an odd mother/son undertone between Fin and Olivia. Upon Fin's arrival in Newfoundland he is met with hospitality, bordering on obsession that is inspired by equal parts genuine kindness and spectacle fascina- tion. They slowly warm him to the joys of company. His need for solitude is slowly mitigated as he grows a unique connection to Olivia and Joe, which is then pulled apart with the same difficul- ty it took to build. McCarthy's film, the darling of last year's Sundance, is a touching and often very humorous film and despite a slightly stumbled into conclusion, pro- vides an original look at the laborious efforts and barriers we encounter and create when meeting new people. Curtesy ofMiramax Woeful'Stain' survives poor casting By Mary Hillemeier Daily Arts Writer Msguided Ryan doesn't make the 'Cut' By Jennie Adler Daily Arts Writer Meg Ryan shocked audiences with her fake orgasm 14 years ago in "When Harry Met Sally," and now, with "In the Cut," she's doing it for real, and completely bare. An unchar- acteristic Ryan takes a break In e from her usual In the Cut romantic come- At Quality 16 dies to work with Screen Gems director and co- writer Jane Campion ("The Piano") for this thriller based on the book by Susanna Moore. Frannie Avery (Meg Ryan), an Eng- lish professor surrounded by bad grammar, is mysterious, lonely and repressed. She gets her kicks talking about sex with her half-sister (Jen- nifer Jason Leigh, "The Hudsucker Proxy") and by meeting with an over- ly interested student (Sharrieff Pugh). When an arm of a "de-articulated" woman winds up beneath Frannie's window, she begins her sexually explosive affair with investigating Detective Malloy (Mark Ruffalo, "You Can Count on Me"). As Frannie becomes more and more obsessed In comparison, Ryan's acting, although years better than "Kate and Leopold," is less than inspired. She wanders through the film so lost and dopey, it's a wonder she wasn't the first murder victim. "In the Cut" is a chaotic compila- tion of themes. Numerous detached motifs of marriage, American flags, lighthouses and family are easily for- gotten. With flashbacks of Frannie's father and supposedly meaningful subway poetry that doesn't quite stick, there is too much imagery with too little relevance. The mood of the film, however, is extremely powerful. The dimly lit sets create a mysterious and sensual mood that supports Frannie's sexual enchantment. The cinematography jumps back and forth between shaky handheld camera work to scenes as still as photographs, providing a lur- ing feeling, almost as if you're being watched. With an overall haziness that not only inhibits Frannie but also makes a mess of the film's intent, "In the Cut" relies on the overall aura of passion and sexuality. An anti-climactic end- ing to an already dismal effort leaves one to wonder if the film is the wrong genre or just another mediocre remake of a novel. We all have secrets, but some secrets are so tightly bound by lies and time that the consequences are irreversible. Cole- man Silk is a man trapped within his own secrecy. A progres- sive Jewish classics professor in a sleepy Massachusetts town, Silk is the pivotal character of "The Human Stain," a notably faithful screen adaptation of the celebrated novel by Phillip Roth with an undeniably riveting story that promises to sur- prise and captivate. Anthony Hopkins is an interesting choice for Silk, the dean of a prestigious university, whose closet conceals a daunting skeleton. Coleman is a compli- cated and mysterious man, admirable for his wisdom, self-possession and elo- The Human quence under pressure. It is debatable Stain whether Hopkins truly embodies the At Livonia's AMC 20 essence of Roth's finely crafted literary Miramax character. What one cannot deny is the seasoned actor's expertise in portraying the weathered and wise, and his near-regal confidence on screen by no means hinders the narrative. When Silk is accused of racism on an unfounded technical- ity, first his job and then his life break away in a matter of hours. Outraged and alone, he soon finds a sympathizer and friend in Nathan Zucherman (Gary Sinise), a reclusive writer hiding from his past. Coleman then stumbles upon a danger- ous scandal in an unlikely love affair with Fornia (Nicole Kid- man), a local janitor who, you guessed it, harbors a mysterious past of her own. "Stain" has potential to get bogged down with this abun- dance of unsolved mysteries and loose ends. Yet the pace picks up soon after a slightly slow beginning, leaving any notable narrative hiccups scattered few and far between. Once free of introductions and formalities, the film gathers a powerful and suspenseful momentum. The full potential of Courtesy of Miramax One should never, ever, Interrupt one's desire to defecate. the story is stunted by a slightly disjointed narrative scheme which pays little attention to the restrictions of time. Jumping first back, then forward, "Stain" reveals its secrets in frustrat- ingly small portions. Perhaps the resulting confusion is an inevitable byproduct of cramming an entire novel into several hours; nevertheless these stylistic choices take their toll. Kidman seems surprisingly comfortable in her gritty, des- perate role. Hers was an arguably gutsy casting decision, considering the intimate nature of her interaction with the much aged Hopkins. The two are an unlikely fit that some- how works anyway, due in part to the carefully crafted cir- cumstances surrounding the affair and the manner with which it is handled. Flashbacks to Silk's past showcase Wentworth Miller as the young Coleman. Miller is a relative newcomer who is well equipped to handle his role, yet is much too handsome to be any relative of Anthony Hopkins, much less his younger counterpart. Once the story gets underway, the utterly unexpected twists and turns are sure to quickly balance out any and all trivial details. 0 Courtesy of Screen Gems I am? I am the dog? I am the dog? with sex and death (the two things Malloy can give her) she edges her- self closer to danger. Although Ruffalo's cop role is very stereotypical, his acting is on target and so believable that you sympathize with his lies, hoping they're the truth. SHORT TAKES STATIC X SHADOW ZONE WARNER BROS. After popping in Static X's latest release, Shadow Zone, and opening the liner notes, the first thought on any- one's mind would most certainly be "Gadzooks!! Wayne Static's hair is karazy!" After the music actually starts, that thought would undoubtedly change to "Zoinks! What is this noise coming out of my speakers?!" Yes, it's true. The fact of the matter is that Static X's brand of techno-industrial nu-metal, with the gruff staccato vocals and down-tuned buzz saw guitars, is just not pleasing to the ears. The end result is a one-dimensional, all-out boring album. Highlights include the dance- themed "Shadow Zone" and the driving "Otsegolectric," but really, you should- n't waste your time. ** - Glenn Lopez n -. 6 The Fannie and John Hertz Foundation takes great pleasure in announcing its Fall 2003 Fellowship Awards. Katie Mitchell-Koch Department of Chemistry 15O F Every Tuesday Is 15 OFF College Night! ' a One Hour}} SSoak for TWO spac I Sunday-Thursday a Not valid on holidays or weekends. Not valid with any other offer. Coupon required. ~Expires 12-15-03. Must be 18 with ID. mCall ............ .. . A (lTd H,'_-1lm' mITT) ( 1"l-' T ii I7ci Calming and t restorative, i the soothing surroundings of a well-tended 1 garden setting... ous and private sparkling clean hot tub and the great outdoorsI or reservations. I QCO nnnl I