This long awaited second publication by the highly recognized film actor and artist/poet, Viggo Mortensen melds his acutely sensitive ability to intertwine words, paintings and photography into one lyrical conceptual landscape. Working like a personal diary, SignLanguage, takes us on a visual journey into the soul of Mortensen's creative forces. His diary-based photographs, taken while filming 'The Lord of the Rings, The Fellowship of the Rings' become dream-like landscapes shrouded in mystery and suspense while his multi-layered paintings entwine themselves around stanzas of poetry. The melding of all three forces allows the reader to become acutely aware of the details surrounding the artists existence, a multiple of split-second images burned into the mind of a thousand different places. SignLanguage exquisitely features extensive color and black and white reproductions of both his photographic works and his intensely personal collage based paintings, partly intertwined in an informative essay by international critic and poet, Kevin Power. Special highlights also include unique photographs by Mortensen while on location during the filming of 'The Lord of the Rings: The Fellowship of the Ring'.
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Poems are layered in paintings-obscured, written over, then painted again. Found objects are treated lovingly and elevated above their humble throwaway status. Old and new rub against each other in textured works that suggest a fractured narrative composed of the artist's visual and emotional memories. This volume is an extraordinary look into the process and mind of an artist whose boundless creative output touches a myriad of media and modes of expression. Included in the book are writings, paintings, collages, assemblages, found objects, and photographs that point to the fluidity of meaning of a world in flux, as well as a special spoken-word and music CD by Mortensen. Mortensen is best known for his outstanding performances in films such as A Perfect Murder, GI Jane, and Portrait of A Lady, and Gus Van Sant's Psycho. He is also the author of several books of poetry and other writings.
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Actor Kevin Spacey made his directorial debut in this uneven crime thriller that has the claustrophobic feel of a play. Matt Dillon, Gary Sinise, and William Fichtner play a trio of robbers who have just pulled a job gone wrong. On the run from the cops, they hide out in a basement bar, where they try to figure out their next move. There's a certain amount of urgency, however, because Sinise, the brains of the outfit, is badly wounded--which means that Fichtner, the group psycho, is allowed to run wild, terrorizing the barflies unlucky enough to be their hostages. As the cops swarm outside the bar--thinking these three are major criminals rather than small potatoes--tensions mount, mostly through misunderstanding. But it's all a lot of talk, not nearly enough of it interesting, that pushes the movie slowly to its inevitable conclusion. --Marshall Fine
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This echo of 1970s disaster films stars Sylvester Stallone as the disgraced former head of New York City's Emergency Medical Services, a loser who is nevertheless a compulsive rescuer of people in danger. When the Holland Tunnel is sealed off after a fiery explosion and car passengers are trapped within, he goes inside and leads a group of survivors (a mixed group allegorically representing America's diversity) through all manner of pestilence toward safety. Directed by the imaginative Rob Cohen (Dragon: The Bruce Lee Story), Daylight finds Stallone outrageously (and to almost campy effect) pushing the envelope of his martyr persona to near-religious levels. He throws himself, quite literally, into this part, and between that entertainment factor and the unnervingly convincing effects, this is a pretty watchable film. The collector's edition DVD release has optional widescreen and standard (pan and scan) versions, optional Spanish subtitles, and Dolby soundtrack. --Tom Keogh
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It seemed like a pretty good career move, and for the most part it was. Demi Moore will never top any rational list of great actresses, but as her career stalled in the mid-1990s she had enough internal fire and external physicality to be just right for her title role in G.I. Jane. Her character's name isn't Jane--it's Jordan O'Neil--but the fact that she lacks a penis makes her an immediate standout in her elite training squad of Navy SEALs. She's been recruited as the first female SEAL trainee through a series of backroom political maneuvers, and must prove her military staying power against formidable odds--not the least of which is the abuse of a tyrannical master chief (Viggo Mortensen) who puts her through hell to improve her chances of success. Within the limitations of a glossy star vehicle, director Ridley Scott manages to incorporate the women-in-military issue with considerable impact, and Moore--along with her conspicuous breast enhancements and that memorable head-shaving scene--jumps into the role with everything she's got. Not a great movie by any means, but definitely a rousing crowd pleaser, and it's worth watching just to hear Demi shout the words "Suck my ----!!" (rhymes with "chick"). --Jeff Shannon
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Numerous critics had already sharpened their knives even before Gus Van Sant's shot-for-shot color "re-creation" of the 1960 black-and-white Hitchcock classic was released, chiding the Good Will Hunting director for defiling hallowed ground. This intriguing cinematic curiosity, though, is hardly as sacrilegious as critics would lead you to believe. If anything, Van Sant doesn't take enough liberties with his almost slavish devotion to the material, now updated with modern references. At times, you wish Van Sant would cut loose with a little spontaneity, a little energy, a little something. Unfortunately, when he does venture outside Hitchcock's parameters, with inserted shots of storm clouds during the murder sequences, it's to little effect. Granted, he liberally splashes color throughout the film (especially in the case of the infamous shower scene), and this is a great-looking movie, but in his obsession with adding a new physical dimension to the film, there's little insight into these characters that Hitchcock hadn't already provided. Vince Vaughn, a robotic and giggly Norman, doesn't crawl under your skin the way boy-next-door Anthony Perkins did, and Anne Heche is admirable if not very sympathetic in the Janet Leigh role. Van Sant does score a minor coup, though, in his casting of the supporting roles: Julianne Moore provides a welcome shot of energy as Heche's irritable and curious sister, William H. Macy is a perfect small-time detective, Viggo Mortensen is studly enough to make you understand why Heche would want to run away with him, and James LeGros walks away with his one brief scene as a used car salesman. And Danny Elfman's gorgeous rerecording of Bernard Herrmann's score is a potent supporting character unto itself. Students and fans of the original film will get a kick out of the modern revisions, but don't expect anything of Hitchcockian caliber; watch it for the sum of its intriguing parts, but not the whole. --Mark Englehart
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You can almost hear the studio pitch meeting echoing throughout Crimson Tide like the sonar on the soundtrack: "It's The Cain Mutiny on a nuclear submarine!" When radio communications problems aboard the USS Alabama prevent the sub from receiving its orders clearly during a tense confrontation with Russian warships, Navy officer Denzel Washington faces a huge ethical dilemma: countermand the orders of legendary Captain Ramsey (Gene Hackman) to fire nuclear missiles, or follow his command and risk launching an unprovoked nuclear war. It's really an actors' picture, and the fun is in the fireworks between Washington and Hackman, each of whose characters articulates solid reasoning behind his decision. There are no easy villains, and there's no easy way to tell right from wrong--that's what makes the nuclear stakes so terrifying. Director Tony Scott (who directed Quentin Tarantino's True Romance script) called in Tarantino to punch up the dialogue, which is why, for example, the sailors talk about Silver Surfer comic books. The digital video disc is in anamorphic widescreen; the sonorous underwater rumblings on the Dolby Digital 5.1 soundtrack will provide you with a good opportunity to show off your system's bass response. --Jim Emerson
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