Galway Advertiser 2002/2002_02_14/GA_14022002_E1_056.pdf 

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film Directors and t - a look ah
Gift, brings us Spider-Man in May. Finally, the really big guns come out later in the year; Steven Spielberg's Minority Report is out in summer and Martin Scorsese's Gangs of New York follows hot on its heels. Will all these films live up to the hype of their directors' reputations? Michael Mann's back catalogue is more fun and less worthy than many of the others listed above; his earlier work includes episodes of Starsky and Hutch and Miami Vice. He then went on to make Manhunter, the first film depicting Hannibal Lecter and a glorious slice of 1980s cheese. However, although he's great on action sequences and gripping camerawork, he lacks the necessary gravitas to bring a new Alt to life. Ron Howard's films are consistently sentimental, and it's rumoured that A Beautiful Mind is a whitewashed, squeaky-clean version of troubled mathematical genius John Nash's life. While Robert Altman showed a welcome return to form with the thoughtful Gosford Park, Ridley Scott's Black Hawk Down was simply beautifully shot bombast, with none of the stunning atmosphere and pathos of his Alien or Blade Runner. is a whole other phem)meiimi^L^s7 s u m m e r ' s Al showed the director following his heart rather than audience expectations, and letting them down in the process. While AI remains an interesting moral fable with some truly haunting moments, it was generally greeted by puzzlement on both sides of the Atlantic. His new film Minority Report is a fast-paced, sci-fi thriller based on a short story by Philip K Dick, whose novel Do Androids Dream of Electric Sheep ? was the source story for Blade Runner. Unfortunately, Minority Report stars Tom 'ubiquitous' Cruise, and it remains to be seen whether Spielberg's persistenly Disney-esque sensibilities get in the way of an entertaining action story.

CINEMA REVIEW:
The fact that Ocean's II is a remake is not very important. While it shares with the original a pervasive and perfectly depicted stylishness, this version has witty and dramatic content as well. Both feature a cast as famous for their off-screen antics as their onscreen activities; however, the cast of the new Ocean's 11 can act as well as look cool. In the talented hands of director Steven Soderbergh, this winsome heist story acquires an added depth and resonance combined with a dry lightness of touch. Soderbergh is arguably at his best when dealing with comedy. While last year's Traffic, which garnered him the Best Director Oscar, is undeniably beautifully shot and compulsively paced, it shares with his Erin Brockovich an earnest quality which jars against otherwise subde storytelling. Yet where other comedies depend on clunky, unfunny jokes or rubberfaced actors for laughs, Soderbergh's deft wit keeps Ocean's II effervescently and effortlessly humorous. The plot revolves around Danny Ocean (George Clooney) and his proposed robbery of three Las Vegas casinos. Just out of prison, Danny's got one more crime to commit before embracing the honest life. He recruits a posse of talented petty criminals to pull off this ambitious theft, including bored card sharp Rusty Ryan (Brad Pitt) and quietly clever pickpocket Linus Caldwell ( Matt Damon), and a host of other "experts'. Yet as the plan comes together, not without a few hitches, Danny's motivations for the crime become increasingly murky and appear to involve his ex, Tess (Julia Roberts). Besides being great to look at. between the Vegas glitz and the sharp-suited criminal crew, the action in Ocean's 11 moves along briskly and entertainingly. Danny's first choice for right-hand man is Rusty, whom he finds teaching Hollywood brats how to play poker. The strictly B-list

Ocean's 11
stars are persistently clueless and slow to learn, and Rusty is happy to leave his day job. The fact that the young TV stars (of 77iar 70s Show, Dawson Creek and Charmed) play themselves is funny but gracefully underplayed, so that it's even funnier. The various con men are all entertaining, although several actors in particular stand out. Clooney is good as always, but Pitt is especially credible as a blase all-rounder of the underworld, while Elliot Gould (Reuben), in Hawaiian shin, outshines everyone in the few moments he is on screen. The underrated Matt Damon is surprisingly believable as a bright, cocky but immature thief on a steep learning curve. Julia Roberts as Tess is the sole love interest for the overwhelmingly male cast, and is not called upon to do much more than look stunning, which she consistently does. However, she is revealed here to have a somewhat ungainly, loping walk which is at odds with her otherwise poised appeal. Andy Garcia broods gloweringly as Terry Benedict, Tess's new boyfriend and consequently Danny's nemesis. The numerous other members of the cast are similarly watchable; there's just not room to describe them all here. Much of the film's appeal, as in the original Ocean's II, apparently, lies in the camaraderie between the characters. The talent level is consistent here, making the new Ocean's II a genuine ensemble piece rather than simply a star vehicle. In many ways. Ocean's II is an oldfashioned film. Despite the myriad of action sequences, there is little actual violence. Soderbergh's Out of Sight displayed his fondness for old-school wisecracking, which is endemic here. Ultimately Ocean's II is swift-moving, good looking and hugely entertaining, as well as serving as a fantastic advenisement for Las Vegas. Katie Moylan

CINEMA REVIEW:
Computer animation production companies, like Pixar, have a really tough job. On the one hand they have to keep p u s h i n g t h e b o u n d a r i e s of c o m p u t e r g r a p h i c reality, have the story simple enough that a child can understand it while at the same time putting in enough to cater for "the accompanying adult". On the other hand they get to play with really cool computers, while telling stories with as many in-jokes and adult twisted humour as they can possibly fit in.

Martin Scorsese's Gangs of New York sounds epic in scale and features a fine cast; most importantly, it sees Scorsese return to the gangster story. Yet he may have exhausted the genre he helped to This year brings several well-known create for contemporary audiences, directors back to our screens with brand despite the presence of Leonardo di new films. We've already had Ridley Caprio. Although Scorsese made one or Scott's Black Hawk Down and Robert two of the most outstanding films of the Altman's Gosford Park, and next week last 30 years, he. like every other is Heal director Michael Mann's biopic director working, should be judged on AH, charting a decade in Muhammad the merits of his current work. Fresh, Ali's life and career. Ron Howard's Steven Soderbergh uses his camera to original movies are being made by (Backdraft, Apollo 13) attempt at a much better effect in his lighthearted relatively new directors such as 'Serious Movie', A Beautiful Mind, Ocean's II, reviewed elsewhere in mis Christopher Nolan (Memento: Insomnia. opens at the start of March, followed by paper, and a new film by David Fincher forthcoming) and Wes Anderson the new David Fincher (Se7en, Fight is always something to look forward to. (Rushmore; The Royal Tenenbaums, Club) thriller 77ie Panic Room in April. We can almost forget that his trademark forthcoming). As audiences, we should Meanwhile, critically respected directors sense of claustrophobic menace first turn our attention to their work, rather Steven Soderbergh and Lasse Hallstrom appeared in the unbearably gloomy than rely exclusively on tried-and-tested return this spring with Ocean's II and Alien 3. Fincher's films engage the mind directors. After all, the new kids on the The Shipping News respectively. Evil along with the senses, making The Hollywood block probably came up Dead director Sam Raimi, who more Panic Room starring Jodie Foster, an through the ranks too. recently directed spooky whodunnit The intriguing prospect Spielberg, however. Katie Moylan

A recent a r t i c l e in the Observer pointed out a truism of Hollywood's working hierarchy; t h a t d i r e c t o r s t h e r e h a v e to work t h e i r way u p through the food chain. This can only be a good thing, as by the time they reach the folding chair, most if not all would-be directors have substantial experience on a movie set, This was contrasted with the situation in the UK (which is often true in Ireland as well), where just about anyone can direct a feature film provided he/she has the money to do so. Possibly one of the reasons America generates such polished nuggets of entertainment is the greater level of expertise that goes into each one. Yet e s t a b l i s h e d directors in Hollywood can reach a level of acclaim which sets them up for (professional) life, despite the d e c r e a s i n g quality of t h e film p r o d u c t s they may s u b s e q u e n t l y churn out.

Monsters Mike NbOoniBck InC
become complicated when a little girl Boo (Mary Gibbs) finds her way through to the monster's side of the closet door. Watch for the name of the restaurant, Harry Hausen was a famous animator. The animation is wonderful. Textures, lighting, and movement look highly realistic but the real triumph is in the way they have got things to move, from the long fluffy hair on the monsters to swinging doors to even the simplicity of clothing. However, even with all die fantastic animation in the world, the movie wouldn't work without die vocal talent. On board the producers got John Goodman and Billy Crystal doing a superb double act. Steve Buscemi being completely evil - just with his voice, and the wonderful deep tones of James Coburn. They had trouble casting Boo the little girl, but eventually found Mary Gibbs the two and a half year old daughter of Pixar story artist Rob Gibbs. John Ratzenbergcr (from Toy Story) makes a "cameo" appearance as theyeti. Do slay until the very end. the 'out-takes' sequence is very nearly as funny as the movie MV What is your idea of perfect happiness? A day in which I write something . 1 know will survive the ultimate draft. Which historical figure do you most identify with? I always fancied myself as Jesse James, robbing banks, shooting guns, hanging out with less than wholesome women. Which living person do you most admire? Maradona, the only footballer in my generation who had the scourge of genius about him. Which is the trait you most deplore in yourself? A tendency of leaving things to the last moment. What is your greatest extravagance? Books. What is your favourite journey? From Prospect Hill to Charlie Byrne's. On what occasion do you Be? I lie every day, as do most people. Which living person do you most despise? I wouldn't say I despise, but I get a weakness whenever 1 hear Maureen Gaffney on the radio. What or who is the greatest love of your life? My family, plus one or two friends. When and where were yon happiest? The day that I found out Cape were going to publish my first book. Which talent would yon most Kite to have? To play soccer like Maradona circa 1986 and uillean pipes

Proust Questionnaire -:
like Paddy Keenan i rca 1975. What is your c u m it state of mind? Cranky. What do you const er you greatest achievement? The fact that I've pi ilished a few books. If yon were to die ind come back as a person or a thing, what do you think t would be? A mongoose. I hale nakes What is your most reasured possession? The manuscript I'm working on at the moment. What do yon regar I as the lowest depth of misery? The top of the Cus. ek Stand, on the Sunday of the Mcath Mayo All-Ireland Fi al replay. What is your favor rite occupation? Looking into the far distance. What is the quality you most like in a man? That he is as good as his word. What is the quality you most like in a woman? I wouldn't go down on path, but take a holistic approach. Who are your favourite writers? Richard Powers by a short head over Phillip Pullman. What is your motto? Stick with pints and stay away from shorts. The T e n s , a short story by Mike McCormack has been made into a short film. This film has been shortlisted for an Oscar nomination. Michele Vuey

Monsters Inc (while not quite as clever as the Toy Story movies) still manages to charm, fire the imagination, tweak the nose of the-powers-that-be and above all makes you laugh. The premise is simple. Monsters need the screams of children to give their city power. Unfortunately kids are not so easily scared any more, so the monsters have to work extra hard The towering blue and green fluffy James P "Sully" Sullivan (John Goodman), along with sidekick and conch, a one-eyed little green blob called Mike Wazowski (Billy Crystal) are the chief scarers in Monstertropolis. Their closest rival is the eight limbed snake like Randall (Steve Buscemi i The mooters believe that the touch of a child is toxic. So things really