4 MOVIE
REVIEWS
Movie flies above the rest By ISAAC FABELA
the audience in from the opening scenes and doesn’t let go until the credits roll at the end of the film. “Flight Plan” is an intense film Foster has plenty of emotionally that will keep audiences on the riveting scenes where she desperedge of their seats. Airplane thrillately pleads for aid in finding her ers can often be an entertaining daughter. Being the seasoned pro movie ploy and this movie is noththat she is, Foster does an admiing short of quality entertainment. rable job that many Hollywood acThe suspense begins in Gertresses might not have been able to many as Kyle Pratt (Jodie Foster) pull off so convincingly. It’s hard plans to transport to upstage an Academy her recently deceased Award winning actress husband back to the and it’s not something United States for buridone very often, but al. Her daughter Julia Bean succeeds in this (Marlene Lawston) almost impossible feat. who is having trouble The British actor, who’s dealing with the unexknown in the United pected loss - joins her States for playing Boairplane engineer mom romir in the “Lord of aboard the plane that the Rings.” Based on his Pratt helped design. performance in “Flight Her knowledge of the Plan,” audiences can world’s biggest paslook forward to seeing senger plane proves to him in larger roles soon. be useful later as her His intense calmness Touchstone Pictures daughter disappears dominates every scene Kyle Pratt, played by Jodie Foster, tries desperately to only three hours into and he gives the feeling the flight. This is where find her daughter aboard the huge aircraft. that everything will be the film gets interestalright. For every film ing. At 30,000 feet Kyle organizes commodate Foster as she requests like “Flight Plan” there are a dozen an in depth search of the plane with to search every inch of the airplane, films like “Turbulence 2.” But it’s all the crew and passengers looking even the most hidden parts. refreshing when a film comes to for her missing daughter. The only The film is directed by relative rescue a genre that has been poorly problem is that nobody - including newcomer Robert Schwentke, handled over the past couple years. the crew, passenger manifest and whose only previous work was a While we may not see a sequel, other passengers - has any record little-known 2003 release called hopefully it will remind filmmakor memory of Julia being on the “Tattoo.” Despite his small body ers how much fun can be had while plane. Kyle refuses to accept that of work, Schwentke easily draws flying high above the Earth.
Daily Titan Staff
TRISTAR PICTURES
Oliver Twist, played by Barney Clark, runs away in Roman Polanski’s “Oliver Twist” based on Charles Dickens’ novel by the same name.
Polanski delivers classic twist on Dickens’ ‘Oliver’ By ERIC SANDERS Daily Titan Staff
Oscar-winner Roman Polanski’s adaptation of the Charles Dickens classic, “Oliver Twist,” is a brilliant cinematic experience to be enjoyed by all. Polanski’s version of the novel – the first attempt by anyone in over 35 years – brings the world of Oliver Twist to life, as if peeling the most intricate details of the characters off the pages and transplanting them onto film. Shot in Prague, Polanski utilizes the beautiful country landscape as a backdrop to tell the story of an orphan living in Victorian England, and seeking happiness that always seems to be out of his reach. The accurate representation of 19th century England is one of the best aspects of the movie, specifically the London Street scenes, which are like a meticulous timewarp and include everything, even muddy roads filled with rats, scandalous hookers and drunken thieves. The realistic reflection of the time period was obviously an issue of great importance to Polanski, pulling the audience in even deeper to the world of the lost orphan, Oliver Twist. We are introduced to Twist (Barney Clark) as one of the many members of orphans who make up the Parish Work House, learning “a useful trade” such as breaking apart rope and putting it back together again. The living conditions the orphans suffer are wretched, with one boy proclaiming he’s so hungry he can’t even sleep. Oliver finds himself in trouble when, after drawing the short
rope, he is the one chosen by the boys to go up and ask for more gruel. This indignation is not tolerated by the gruel dispenser, who ends up switching Twist violently, and causes the Parish to put him up for auction. This leads to a series of offers that eventually has him sold to an undertaker. As a result he runs off with nothing but a bag tied to a stick – hobo style – and finds himself with nowhere to go except down the 70-mile path that leads to London. Once in London, Twist pals up with Artful Dodger (Harry Eden) and a band of boy pick-pockets lead by the sinister Fagin (Ben Kingsley). The group of pick-pockets adds a childhood playfulness to the movie and a comical character in Dodger, who is a quick witted, drinking, smoking child criminal. Taken in by Fagin’s pseudoaffection, Twist settles into London’s underworld, but quickly discovers the dangers that lurk in a life full of petty theft and shady characters. The climax of the film comes when Twist finds that he is the focus of ill intent by the notorious Bill Sykes (Jamie Foreman) and the intimidating pit-bull that accompanies him. “Oliver Twist” is true to its literary roots with lengthy character development and storytelling. During a time when Hollywood studios are rehashing old television sitcoms due to lack of content, “Oliver Twist” is a refreshing new spin on something old that will leave fans of good storytelling and directing thoroughly satisfied.
she only imagined boarding the plane with her daughter and basically holds the plane hostage as she desperately looks for her. While the rest of the crew and passengers grow restless and frustrated with the drama ensuing on board, Kyle manages to gain two allies in her search for Julia. Carson, an undercover air marshal (Peter Sarsgaard) and Captain Rich (Sean Bean) ac-
Capote captivates By BRYAN BARNETT Daily Titan Staff
In November 1959, four shotgun blasts shattered the silence of a Kansas prairie. A family of four was dead and their murderers vanished into the night. The horrific scene beckoned Truman Capote towards the idea for a simple magazine article that later evolved into his greatest work of non-fiction, “In Cold Blood.” In Philip Seymour Hoffman’s latest film “Capote,” Hoffman captures all the eminence and personality of the legendary Truman Capote flawlessly. His booming presence captivates party guests on every occasion – and there are plenty of occasions. Author of “Breakfast at Tiffany’s,” Capote won great fame and respect across the country and the world for his ample production of bestselling books. This film tracks Capote’s sixyear struggle to gather viewpoints from both sides of a brutal massacre in order to create the great novel, “In Cold Blood.” He travels to Kansas to inter-
view Alvin Dewey, played by Oscar-winnwe Chris Cooper, an agent heading the investigation of the murders. While at first the townsfolk are reluctant to give him any help on the story, Capote uses his masterful interviewing skills to connect with just about everyone on a deep, personal level. “It’s as if Perry and I grew up in the same house,” Capote tells his friend and author of “To Kill a Mockingbird,” Harper Lee (Catherine Keener). “One day he stood up and went out the back door while I went out the front.” Perry is one of the two killers found guilty of the slaying and sentenced to death by hanging. Most of the film is devoted to Capote’s relationship with Perry as the author tries to gather insight on what happened that fateful night. When this starts it all feels dreadfully reminiscent of the film “Dead Man Walking,” in which Susan Sarandon plays the part of understanding counselor looking to provide solace for a stray soul, Sean Penn. There are other strong parallels, but divulg-
ing them would be giving too much away. The most phenomenal thing about “Capote” is Hoffman’s acting. It gives the film two legs to stand on when the storyline itself might be tired and predictable. It’s easy to watch as such a complex 1960s icon comes to terms with his feelings about either hating or loving a cold-blooded killer. It nearly tears Capote apart. Most of the time he pumps the life into the parties he frequents, but as he realizes the scope of his novel and the lives entangled within, he mopes about finding comfort only in his gin and tonic. Capote’s dramatic highs and lows are enthralling. While the story ends with predictable certainty, the legend himself remains a mystery. Capote is as unpredictable as they come. Imagine a famous carefree partier thrown into a situation of unforeseen profundity - in this case writing a book that sympathizes with both the loved ones and the killers of a family of four - the effect is fascinating and sincere. And it’s all true.
