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Monday, 7/21/97 Screen Scene

"Contact" Directed by Robert Zemeckis Starring Jodie Foster and Matthew McConaughey Movies about aliens are sure getting popular. With the success of "The X-Files" and alien flicks like "Independence Day" and this summer's "Men in Black," Hollywood has once again gone crazy over those little green men. But moviegoers expecting "Contact" to be another us-versus-those-evil-aliens movie will be sorely disappointed. For those who enjoy a thought-provoking, intelligent study of people and their thoughts on the existence of other civilizations, "Contact" will surely satisfy. From the director of the beloved film "Forrest Gump," Zemeckis brings another sentimental and sincere tale of an individual whose open heart changes the world for the better. This time, instead of a Southern boy who has a penchant to make up catch phrases, it's astronomer Dr. Ellie Arroway (Foster). Arroway's passionate curiosity about the possibility of other life forms is the focus of the film. It shows everything from her little science experiments as a child to her world-famous discovery of an extra-terrestrial message from the star Vega. This discovery soon causes a world-wide frenzy, as the United States and other world powers are eager to discover if the message is hostile or friendly. When the message turns out to be instructions for a space craft, the world powers must decide whether or not to send the first alien ambassador from Earth. Arroway wants to be that ambassador, but ambitious scientists, politicians, and love interest McConaughey (who happens to be a religious scholar and presidential advisor) are trying to prevent that from happening. Her willingness to sacrifice her life for this mission reveals her obsession/passion for her work. With her deep voice and serious face, Foster is completely believable as Arroway, an independent woman who is intimidated by no one. The film is all about Arroway's journey and Foster's passionate and heartfelt performance makes it easy for the audience to follow her. McConaughey is charismatic in his role as Reverend Palmer Joss, Arroway's political foil and romantic soulmate. His Southern drawl and beautiful smile makes you understand why Foster's character gets so distracted whenever he enters the room. Who knew a reverend could be so damn sexy! What makes "Contact" different and superior to most other alien films is its realistic and intelligent treatment of science and extra-terrestrial life. The aliens are not depicted as evil or threatening, which unfortunately, is what their reputation seems to be now, thanks to most science fiction films. Another important theme that "Contact" tackles is God, and whether the increasing discoveries in science will disprove his existence. There is serious discussion and debate on both sides, leaving the audience to come up with its own conclusion. With such mature treatment of topical issues and realistic performances, "Contact" offers the movie genre another type of science fiction film that is sorely needed; a realistic, sentimental, sweetly optimistic one. Aimee Phan Grade: A- "A Brother's Kiss" Directed by Seth Zvi Rosenfeld Starring Nick Chinlund and Michael Raynor The story of two brothers in which one fails and the other succeeds has been done before. Although "A Brother's Kiss" is an emotional film, it is simple and does not add anything to this tired formula. The film centers on two brothers, Lex (Nick Chinlund) and Mick (Michael Raynor), the only white boys in a predominantly black neighborhood . With an alcoholic mother and absentee father, they persevere through the perils of inner-city life. Until an unfortunate turn of events, Lex is the role model and protector of Mick. In his first film project, theater director Seth Zvi Rosenfeld creates a Tarantino-style film that characteristically comes full circle at the end.. "Kiss" opens with a troubled Lex making an urgent midnight phone call to his now-policeman-brother Mick. After 91 minutes of flashbacks Rosenfeld returns to this opening shot to explain the purpose of Lex's call. Rather than using a more creative means, Rosenfeld relies on the flashbacks to develop the story. He chooses events that shape the characters' growth: a young Mick is raped by an undercover cop; a young Lex goes to reform school and an older Lex marries and impregnates Debbie (Rosie Perez, whose accent is actually bearable in this film), a girl with no direction. Cameos by popular indie actors Michael Rapaport, John Leguizamo and Marisa Tomei as Mick's cousin, drug dealer and mistress add to the film's appeal. But that is where the appeal ends. The film's brevity fails to allow the audience enough time to relate to the characters and understand their motivations. Yet at the same time the film drags on and on. The film's structure allows us to watch as the brothers evolve into young men, but the hastiness leaves out important emotional insights. For example we assume that Mick's childhood rape formed his conservative, celibate adult character, but it is never discussed. Nor is Mick and Debbie's relationship believable. It appears superficial - a few quick pick-up lines, a trip to the carnival and then bam they get married, she has a baby; he gets into drugs and she kicks him out. Also, Mick's retreat into drugs and alcohol is blamed on his promising basketball career. However, this is never fully developed. All together, the story seems forced as we wait to see what will become of the brothers. Melissa Altman Grade: B "Star Maps" Directed by Miguel Arteta Starring Douglas Spain, Efrain Figueroa, Lisa Flores, and Kandeyce Jensen Cruising along Sunset Boulevard, one can see prostitutes and young men selling star maps, but it hardly occurs to anyone that these two jobs can be, and perhaps are, rolled into one. "Star Maps," the screenwriting/directorial debut of Miguel Arteta, uses this premise as a backdrop for a lackluster examination of the plight of the Mexican actor. Admirable in its intentions and melodramatic plot, this film showcases Arteta's strong writing talent. But devoid of any marquee acting talent, it promises more than it delivers. Douglas Spain stars as Carlos, a young aspiring actor from Mexico who is forced to peddle his body along with his star maps. Amid a dysfunctional family, Carlos, determined to make it in show business, faces stiff disapproval from his abusive pimp father, Pepe (Efrain Figueroa). Kandeyce Jensen plays Jennifer, a shallow TV actress who offers Carlos a minor stereotyped role in her husband's show in exchange for sex. Through glimpses into Carlos' dreams of stardom and his mentally disabled mother's hallucinations, the film offers a good blend of reality and fantasy. Stark scenes of Carlos with his clients and childhood memories of Pepe's violence deftly juxtapose the dark side of Hollywood with the joy of achieving one's dreams. The film depends too heavily on the acting of Spain, however. In spite of the film's bright spots, this feature film rookie manages to undermine any complexity that may have been written into his character. Spain's lackadaisical performance is painful to watch as he stumbles lethargically from scene to scene and doesn't try to exhibit anything more than a scowl for tense confrontational moments. Even when Carlos has sex for what he thinks is love, Spain maintains the same stoic expression that plagues most of the film. As an actor playing an actor, Spain fails to develop his character adequately. Undoubtedly a catch-phrase for Arteta's observations of poorly written roles for Mexican actors, Carlos' come-on line with clients, "Who do you want me to be?", soon comes to describe Spain's apathy for the gravity of his leading role. Arteta's use of prostitution as a metaphor for the way Mexican actors sell themselves short is commendable and this first film shows his screenwriting potential. A lack of a talented cast burdens his work, however, and one only wishes he would use a star map of his own to find some capable actors. William Li Grade: B- "Mrs. Brown" Directed by John Madden Starring Judi Dench, Billy Connolly and Geoffrey Palmer Drawing from an understanding of the conflict between social roles and individual desires, "Mrs. Brown" delivers a plausible and sympathetic account of an unexpected relationship between England's Queen Victoria and John Brown. As queen, Victoria must balance her public duties with her private needs. After her husband Albert dies, she retreats to Windsor Castle, afraid of running the country and being alone. John Brown, a servant from Balmoral, Scotland is brought in to comfort her and he more than rises to the challenge. Apart from the love story, "Brown" is also a telling look at how power is spent, albeit pettily. Victoria's entourage of whispering, mouse-like subjects attest to the muting propriety of Victorian times. It's not surprising then that John Brown's apparently open, and subsequently irreverent personality, creates a stir. His honesty lifts Victoria's malaise and secures a friendship that allows him to fanatically take charge of the household in the name of Her Majesty's protection. The cast proves adept at balancing the gravity and humor of a well-crafted script. Although the momentum of the story may lull at times, the witty dialogue makes up for it by setting the sly subtlety of Parliament against vulgar forthrightness of John Brown. Alternating scenes between Windsor and London also add a nice touch to the dichotomy. Dench draws out the conflict of an apparently paradoxical character who was both a staunch matriarch and a delicate woman while Connolly, who brings Brown to life, is a bucket of laughs for the better part of the film. The fawning Machiavellian prime minister, Disraeli, played by Antony Sher, is also immensely entertaining, serving as a foil to the honest Brown. "Brown" looks at a period of Victoria's reign, where for a moment, the role of Queen was placed aside and an unlikely friendship formed. Alicia Cheak Grade: A- Warner Bros. Dr. Eleanor Arroway (Jodie Foster) receives a mysterious message from outer space in "Contact."