Rating: The Good – 67.7 Genre: Science Fiction, Thriller Duration: 118 mins Director: Gregory Hoblit Stars: Dennis Quaid, Jim Caviezel, Shawn Doyle
A pulsating and smart sci-fi thriller infused with unabashed sentiment, Frequency is a movie that ultimately shouldn’t work but does. A troubled homicide detective (Jim Caviezel) accidentally comes in contact with his father (Dennis Quaid) 30 years in the past, just in time to warn him of his impending death. When the father heeds his warnings, the time line begins to change with unexpected consequences and the father and son find themselves tracking down a serial killer in a desperate effort to protect their wife/mother. Given that the central time travelling device here is a ham radio in an electrical storm and that most of the thrills come from the cross-time conversations between the father and son, this script must have been a dilly of pickle to sell. Nonetheless, Gregory Hoblit’s typically polished direction and his quality cast pull it off. Quaid was always a dab hand at playing the heroic everyman and if Caviezel is less familiar in such roles, you’d never know it. And even though they share different ends to a radio frequency there’s lots of chemistry to enjoy too. The real hook here, however, is the plot which works as all good mysteries do, by keeping the audience guessing and their pulses racing. But what truly separates Frequency from the slew of science fiction thrillers is its unapologetic pandering to that audience’s desires, something often considered a compromise from an artistic point of view. Fairytale like resolutions are not necessarily to be avoided, though, and in an age when even Hollywood blockbusters offer up token sacrifices, it might even be a welcomed once-off treat.
Rating: The Good – 76.5 Genre: War Duration: 170 mins Director: Terrence Malick Screenplay: Terrence Malick Stars: Jim Caviezel, Sean Penn, Nick Nolte, George Clooney
Fascinating introspection at the mental landscape of war and man’s natural or unnatural relationship to it. The Thin Red Line is very much an ensemble piece with an array of Hollywood A-listers all lining up to participate in Malick’s take on the WWII pacific theatre. There are many standout performances but Jim Caviezel’s overshadows all of them. There’s an untidy serenity to it which, though sounding like and oxymoron, is exactly the type of enigmatic quality the film needed at its centre. Malick chose well.
John Toll’s cinematography is intuitively informed by Malick’s perspective but while the visuals are in general deeply arresting, they are no more so than the use of sound in this film. The sounds of nature, man, woman, and child which Malick has always seemed attuned to like nobody else, gently come to the fore here to contextualise the narrative in their own way. Hans Zimmer provides a perfect score (perhaps his best) which lifts the film at crucial junctures and it is intricately involved in the movie’s crowning moment (in fact this score now counts as one of the many wonderful pieces of music which Zack Snyder has “borrowed” to give his trailers at least an overt sense of depth).
The decision to shoot the movie from the individual’s perspective was a brave one because it diverges from the traditional film-making template significantly. However, not only does it provide a platform for a more honest account of what soldiers go through, it also elevates the action to a level of reality beyond that of a typical war movie. The Thin Red Line came out in the same year as Spielberg’s WWII feature Saving Private Ryan, and while the latter received much praise for its realistic opening sequence, it really doesn’t touch the former in honesty or perceptiveness. The Thin Red Line is a triumph in that regard and while that may displease more mainstream movie fans who have set expectations from a war film, it will should excite those who want to see the envelope pushed further back.