Word: novelization
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Dates: during 1990-1999
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...film's start, Anna tells her son outright that the ways of the English are the ways of the world--and if they aren't, then they should be. With statements like that, the film doesn't allow for anyone's actions to speak; somewhat like a dimestore romance novel, it hits its audience over the head declaring the different sensibilities of Anna and the king loud and clear. These sentiments are bannered across the screen, although in the two hour, 40 minute movie, there is plenty of time to allow them to unfold naturally...
...know what he's capable of, which is just about anything. He's like Hannibal Lecter minus all that nonsense about fava beans and a nice chianti. But the movie takes the story in an entirely different direction simply by a shift of emphasis. Where Highsmith's 1950's novel barely dares to hint at any latent homoeroticism, the movie explicitly exposes Thomas Ripley to the world, as he hungers both for Dickie's life and Dickie's posterior. Now, Mr. Ripley isn't only eyeing Dickie's suits, he's nuzzling them...
...exploit his character's internal conflicts in any time or place, be it Jane Austen's England in his 1995 release Sense and Sensibility, or the alienated '70s suburbia of 1997's The Ice Storm. Yet his latest project, Ride With the Devil, based on Daniel Woodrell's novel Woe to Live On, reflects the damage too much praise can have on a director. All that distinguishes Ride with the Devil as anything other than a glorified action flick is a splattering of historical nuances and the occasional flirtation with character complexity...
...While Woodrell wishes to "get through the humanity of all involved" in his novel, Lee's Ride With the Devil is merely a mockery of human relationships. Maguire's Jimmy Stewart-like treatment of his character, the unexplored dramatic richness of Holt's story and Jewel's shaky on-screen image detract from Lee's normally rich character development. Lee fails in Ride With the Devil. The film is not poorly conceived, but his past films and demonstrated talent grant occasion to expect more from him. This time, Lee tries too hard bridge the gap between the subtlety and serious...
...marginally more probable that Stuart is the Littles' adopted son, as he is in the film, than their natural offspring, as he was in E.B. White's classic children's novel. He is, after all, a wee mouse. But sooner or later, in both cases, disbelief is suspended, and we take the brave, chipper and very decent rodent (voiced by Michael J. Fox) to heart. Though Stuart's adventures seem more breathless onscreen than they did on the page, the blend of digital animation and live action is first rate. Eventually Stuart wins over even Snowbell, the Littles' cat (Nathan...