The Force was strong in 1977

STAR WARS (1977)

An Appreciation by Jerry Saravia

Originally viewed in 1978

George Lucas' "Star Wars" is one of the great outer space fantasy movies of all time - it was, and still is, a gleefully exciting popcorn movie full of special-effects galore and chivalrous heroes, stubborn princesses, evil dark empires, and two adorably argumentative robots. The characters were Luke Skywalker, Han Solo, Princess Leia, Obi-Wan Kenobi, Yoda and Darth Vader, to name a few. It is no surprise to state that "Star Wars" became a pop phenomenon on a scale like no movie before it or since - it redefined what audiences ultimately wanted from the movies - pure escapism into a world that did not exist. There has never been another phenomenon like it and, despite all the special revised editions and the two sequels that followed forming the Holy Trilogy, it is technically the first film (aside from Spielberg's "Jaws" released 2 years earlier) that initiated the term, blockbuster.

The original "Star Wars" was a major box-office success signaling the rise of merchandising and the wave of Hollywood blockbusters and endless imitators to come. The main difference between "Star Wars" and the so-called action entertainment of today is that "Star Wars" had wit, style and imagination to spare, not gratuitous action scenes and bloody violence at the expense of a story or characters worth caring about. It was even more of a sheer joy to watch this film restored to its original glory with the first Special Edition revisions in 1997 with its blazing colors, beautiful cinematography and the uplifting Dolby Digital musical score by John Williams. The special-effects are as awesome as they ever were, including the classic battle on the Death Star, the plentiful laser gun fights, and the lightsaber duel between Vader and Kenobi.

The actors are also rather pleasing to watch after all these years. Harrison Ford has as much fun here as when he played Indiana Jones and his constant snickering and witty asides are as marvelous as ever. Ditto the youthful Carrie Fisher as Princess Leia (who for some reason speaks with a British accent when confronting Vader); James Earl Jones' eerie voice for the mysterious Darth Vader; the comical interaction between the lovable robots C3PO and R2D2; Mark Hamill's naive farm boy Luke Skywalker who eventually becomes a fighter pilot for the Rebellion (Hamill's career never took off the way his co-stars did); the masterful restraint of Sir Alec Guinness as the sage Obi-Wan (no doubt inspired by Gandalf back when "The Lord of the Rings": was still only a book); Peter Mayhew as the hairy seven-foot growling Chewbacca; and notably Peter Cushing as the commander of the Death Star station - he's almost as scary as Vader when he blows up Leia's home planet Alderaan!

There is not much more to be said other than the fact that I was 7 or 8 when I first saw it, in Toronto, Canada  in 1978 (I was going to see it even earlier when we lived in Sao Paulo, Brazil but my father told me kids could not see it then, 1977 to be precise, though I am sure that was a falsity). Just the opening title crawl alone followed by the Imperial Cruiser that seems to come from over our heads and the thunderous John Williams score were enough to entice me, to transport me to a galaxy light years away. When we first catch glimpse of Princess Leia, we don't know who she is or if she is even one of the good guys. The introduction of the ominous Darth Vader, as seen behind the mist of an explosion aboard a ship, who is carrying a loud breathing apparatus and a helmet that looked like it could give Dracula the heebie jeebies was enough to suggest villainy of the darkest sort. 

"Star Wars" is just grand escapist entertainment - a more mature update of Buck Rogers with its serialized quotient of action scenes and last minute escapes. In many ways, it anticipated the Indiana Jones movies (though they are more intense) and it also anticipated a seismic change in moviegoing habits. It also brought a new term in the lexicon - the Force ("an energy field created by all living things. It surrounds us and penetrates us; it binds the galaxy together.”) If it wasn't for "Star Wars," there might not be superhero movies or "Avatar" or any number of so-called "franchises" of the fantasy or sci-fi sort. Studios went crazy with the escapist variety and tried to replicate it, foregoing personal statements by other directors contemplating on issues such as "real life." Adult cinema, that is to say, films for adults about adults became more and more rare to the point that today, a film about adults might be something you can only stream. Movies did change but it wasn't "Star Wars"' fault - the audience changed too after suffering through scandals such as Watergate, the Vietnam War and so on. There was a need for escape and that is understandable and "Star Wars" screams escape. 45 years later, we have had 10 or more "Star Wars" movies (My preference is still for "The Empire Strikes Back"; as for the sequel trilogy, "The Last Jedi") and yet for many, this 1977 pop entertainment and its two respective sequels remain the favorites for many (not sure how the tots of 2022 feel). The Force will be with us for some time. 

Jolly Green Giant with flashes of anger

 SHREK 2 (2004)

Reviewed by Jerry Saravia

Viewed on June 9th, 2004

Can it be true? Has Pixar and Dreamworks made a sequel to "Shrek" and released it in theatres? Well, considering it has been three years since the original, we know the computer animators have been working overtime to create something special the second time around, and they have succeeded. "Shrek 2" is probably better than what we can expect, and possibly superior to any direct-to-video
Disney sequels, but it also should've been better than we'd expect.

"Shrek 2" brings back the ogre couple from the original, Shrek (voiced by Mike Myers) and Fiona (voiced by Cameron Diaz), now living happily in the swamps. They take mud baths, make love by the beach in "From Here to Eternity" style (how often has that scene been parodied?), and fart with the greatest of ease. All is well until the generally loquacious Donkey (voiced by Eddie Murphy)
returns with a message for Fiona and her groom to travel to Far, Far Away Land to meet her parents, the King (voiced by John Cleese) and Queen (voiced by Julie Andrews). Of course, the assumption is that Fiona was rescued by Prince Charming from the slaying dragon - the last person anybody expects to enter this land is not one but two ogres. The King and Queen, and most of the kingdom's population is shocked, especially a bird who flies into a wall and dies. A nice touch of humor is when the ogres first arrive at the palace, and everyone is quiet except for a crying baby. Naturally, the King and the jolly
green Shrek do not get along, throwing food at each other and trading insults. So what seems like an animated "Meet the Parents" soon enough turns into the semi-ingenious sequel we were hoping for.

The King fools Shrek into meeting him in the forest, thanks to a wicked plan by the Fairy Godmother (voiced by Jennifer Saunders) who is quite upset her son, Prince Charming (voiced by Rupert Everett), did not marry Fiona. Shrek and Donkey are moseying along when Puss-in-Boots (voiced by Antonio Banderas) challenges Shrek to a duel, though it mostly involves a catfight with Puss's sharp claws used as weapons. Eventually, the threesome decide to steal a potion from Fairy Godmother's castle, something called "Happily Ever After" (otherwise known as Love Potion No.9). Shrek hopes that the potion will make his Fiona look at him and fall in love. Unfortunately, cherry-lipped Prince Charming and the Fairy Godmother have different plans.

In terms of animation, "Shrek 2" is astounding to look at once again. Not a moment is wasted anywhere for maximum visual impact, whether it is seeing the Fairy Godmother's two show-stopping musical numbers or her carriage being whisked away into the night. As expected, Shrek, Fiona, and Donkey look as real and three-dimensional as the human characters (the latter still a major flaw
design in the CGI era). But we movie critics can get nitpicky, and I am afforded the pleasure of being
as picky as I can get. "Shrek 2" has moments of inspired lunacy and several blink-and-you'll-miss jokes in the background and the foreground (stabs are made at Starbucks, Fat Boy, Tower Records, Hollywood and, of course, Disney). There are also a plethora of film parodies with the likes of "Spider-Man," "The Lord of the Rings," and the original "Shrek." The movie piles on so many clever
in-jokes and references that you're likely to miss most of them - they spring out of the screen at such an alarming rate that it is like a cartoonish nightmare version of Robert Altman's "The Player."

What "Shrek 2" lacks is a real reason for its existence. The story is basically a recap of the original's themes and subtexts, namely be yourself and get rid of your inner rage. Aw, shucks, not another simplistic moral lesson. If Pixar is going to separate themselves from Disney, they need to face certain
realities and avoid the moral cliches of the past sixty years - the animation is more lifelike than Disney but the story can't bear such close scrutiny. I wanted to like "Shrek 2" so much more than I had. I liked it enough to give it a passable recommendation, but I think kids and adults alike will find the
original, a parody of fairy-tales, far more enjoyable. Still, seeing Red Riding Hood running in fear of Shrek makes me smile. And Shrek himself is still a jolly green giant with flashes of anger. That's just the way I like him.

Quentin Tarantino's Twisting Crime Noir Epic

 PULP FICTION (1994)
Reviewed and Reassessed by Jerry Saravia
Best Film of 1994

"Pulp Fiction" is still, to this day in 2022 as I write this, one of the most pleasurable movies I have seen in a great while, and it will stand as the breakthrough movie of the 90's. It is a love it or hate it deal - either you admire the artistry of Quentin Tarantino's dark flourishes or you detest the sickening violence and brutality inherent throughout (the latter has still caused a stir in every film he's made since). Not only is the title "Pulp Fiction" a household name but so is Quentin Tarantino, a video store clerk who never went to film school and became an overnight success directing 1992's gory "Reservoir Dogs." All the attention is not for naught; "Pulp Fiction" is a great, rhapsodically inventive film that breaks new ground, is politically incorrect and unconventional. Tarantino has not so much reinvented film as much as he has rejuvenated it - he has brought back the sheer joy we all share of watching a great movie. 

"Pulp Fiction" won the Golden Palm award at the Cannes Film Festival in 1994 and won the Best Original Screenplay award at the Oscars. Since the film's release, "Pulp" has erroneously stirred great controversy over its obscenities, short bursts of bloody violence, racial overtones in its everyday use of slurs, sexual abuse and rape, and misogyny. All of these charges are largely silly because there is more violence and misogyny in the cartoonish "True Lies" and "Forrest Gump" than in "Pulp" (all released the same year). What upsets people is that "Pulp" is more open and subtly honest with these issues, and because the characters only seem cold and heartless. This is largely a falsity as you will observe. There is truth in the film but it is mostly an exaggeration, and shouldn't be taken seriously. 

John Travolta and Samuel L. Jackson play the main characters, Vincent Vega and Jules, two black-suited hoods who work for the big, black, bald boss Marsellus Wallace (Ving Rhames). Vincent and Jules are on a mission to retrieve a mysterious stolen briefcase belonging to Marsellus. Some college roommates are in possession of the briefcase, and Jules torments and kills two of them with his gun, but not before ranting and raving a biblical quote from "Ezekiel 25:17." Later, Vincent meets Marsellus's wife, Mia Wallace (Uma Thurman). He is supposed to entertain her while the boss is away on business. They go to a 50's diner restaurant called "Jack Rabbit Slim's" where they do the Bat dance to Chuck Berry's "You Never Can Tell." When they come back to her house, Mia has a heroin overdose where she is treated by an adrenaline needle to the heart administered by Vincent at a drug dealer's house (a frighteningly funny bit cribbed from Scorsese's documentary, "American Boy"). By the way, the grungy drug dealer is hilariously played by Eric Stoltz ("Killing Zoe"). 

Another story circulates around "The Gold Watch," and this concerns a hot-headed boxer named Butch (Bruce Willis). He is told to throw a fight by Marsellus (this subplot reaches as far back as "The Set-Up" and a hundred other noirish tales from the 50's). Of course, Butch does not throw the fight and kills the opponent. He tries to flee with his French girlfriend (Mia De Medeiros) but he won't leave without his gold watch, which he left at his apartment. When he tries to retrieve it, he finds Vincent whom he kills without hesitation. Butch almost gets away scot-free until he confronts Marsellus on the street - they hit and shoot each other until they are caught and bound by S&M freaks in one of the most thrillingly gory moments in the history of cinema. Then we return to the Jules and Vincent predicament involving the roommates and the mysterious suitcase - this episode is titled "The Bonnie Situation." Jules and Vincent kill all the roommates except for Marvin. They take Marvin along with them, and in the car, Jules feels that their survival from death was an act of God. Just then, Vincent accidentally blows off Marvin's head and, needless to say, it is a bloody mess. They arrive at Jimmy's house (Jimmy is played by Quentin Tarantino) where they store the bloody car in his garage until no-nonsense Winston the Wolf (Harvey Keitel) comes by to help the boys clean up the mess by telling them how to do it. This whole sequence plays like an eerie extension of the Billy Batts trunk scene from "GoodFellas."

"Pulp Fiction" is thrilling eye-opening fun and a miraculous movie simply because it plays and twists with the conventions of at least three different genres - the lurid atmosphere of film noir, the standard action-oriented melodrama, and your basic gangster crime picture. The difference is that the characters end up in bizarre situations that aren't dictated by cliched plot points or mediocre chases. These characters live and die by doing stupid things! Butch's stupid deed is to get his precious gold watch back at this apartment where the killers are inevitably waiting for him. When he arrives, there seems to be no one around. Ah! But Vincent went to the bathroom and left his silencer on the kitchen counter thus making it easy for Butch to blow him away!

"Pulp Fiction" has one classic scene after another and my favorite is the extended sequence with Vincent and Mia on their date at the Jack Rabbit Slim's restaurant where the waiter is dressed as Buddy Holly (Steve Buscemi). The conversation between Mia and Vincent consists of T.V. shows, Mia's supposed foot massage, five-dollar milk shakes, and "think of something to say"-type language, while they shoot frequent glances at each other. It is a delightful, entertaining and wonderful sequence to behold. The philosophical discussions between Vincent and Jules are also priceless, including the discussion on McDonald's hamburgers in America versus France, and let's not forget that Jules's favorite burger is the Big Kahuna burger.

"Pulp Fiction" has been severely criticized for containing foul language, gratuitous violence, and thoroughly repellent characters whom you couldn't care less about. Firstly, the violence is not gratuitous, it is explosive and brief (unlike some of "Reservoir Dogs" more profane passages). Secondly, these characters are not repellent (except for the nonsensical inclusion of the Gimp)
because Tarantino shows that he cares about them by instilling them with humanistic touches. Marsellus seems to be a one-dimensional big gangster boss until you see the hate etched on his face when he is hideously raped by one of the hillbillys. In fact, Butch goes back to save Marsellus from these hillbilly
freaks even though Marsellus initially wanted him killed. And look at the conclusion of the film (which is actually the beginning) where Jules decides to get out of the gangster business after having experienced a case of "divine intervention," and decides he'll "walk the earth like Caine in 'Kung Fu'." Rather than killing a lowlife thief (Tim Roth) and his girlfriend (Amanda Plummer) who are trying to rob a cafe, Jules chooses to let them go - he is doing the responsible, ethical thing rather than have a bloodbath on his and everyone else's hands (Tarantino hasn't come close to such an ethical decision since - most of his films feature bloody shootouts and sheer mayhem). Finally, don't forget Vincent aiding Mia after a heroin overdose. The scene is both frightening and hilarious, like most of Tarantino's masterful epic. 

Perhaps, this is Tarantino's finest hour, and he may never make another movie quite like "Pulp Fiction." ("Inglourious Basterds" and "Once Upon a Time in Hollywood" and the low-key crime drama "Jackie Brown" have come close to eclipsing "Pulp"). Some critics have said that he may never make a real movie about real people in real situations dealing with real emotions ("Jackie Brown" excepted). That may be true, but "Pulp Fiction" is as real a movie as we are likely to get for sometime. It is also one of the greatest entertainments of the 1990's.

Email from the Shop around the Corner

 YOU'VE GOT MAIL (1998)
Reviewed by Jerry Saravia

Originally viewed in 1998

I have always admired writer-director Nora Ephron's efforts, as mild as some were, such as "Heartburn"

and "This is my Life." "Sleepless in Seattle" is one of her best, a sophisticated romantic comedy with

allusions to old movie classics such as "An Affair to Remember" and "The Wild Bunch." It had the innate, likable pairing of Meg Ryan and Tom Hanks and some delightful zingers courtesy of Rosie O'Donnell. The surprise is that "You've Got Mail" is even better - as romantically pure and cleverly funny as you can imagine, and Hanks and Ryan are back in roles they were born to play.

Hanks stars as the aggressive Joe Fox, the owner of a Borders-type bookstore called "Fox Books" where they serve cappuccinos and thousands of books for discount prices. His business is the type to
put any real literary bookstore out of business, including "The Shop Around the Corner" - a children's bookstore run by Kathleen Kelly (Meg Ryan). Kathleen holds this precious commodity dearly to her heart, and it is practically around the corner from Fox Books. Distracting her from her business is her laptop computer, which she regularly uses to talk to an anonymous male friend through the wonders of e-mail. She has a regular rapport with this friend, and patiently waits for her beloved, a writer for The New York Observer (Greg Kinnear), to leave for work before she rattles around her computer. Only, she's not aware that her e-mail buddy is her competitor Joe Fox!

Of course, Joe is unaware of this himself, and regularly waits to go online until his girlfriend, a book editor (Parker Posey), leaves for work. The e-mails mount as they both write to each other, seeking help
about their business prospects. And never shall the twain meet, though we constantly hope that they do.

Nora Ephron is the perfect writer for such lightweight nonsense, but I was surprised how sophisticated and clever the dialogue was. Joe's double entendres hit a 10 on the laughometer - the best scene is when
he visits Kathleen's bookstore and tries to prevent his kids from saying "F-O-X". There are also the witticisms of supporting characters, such as Joe's philandering father (Dabney Coleman) and his
philandering grandfather (John Randolph), who describes women as being "enchanting"; his loose, Chris Tucker-ish executive pal (Dave Chappelle); and Kathleen's old bookkeeper friend (Jean Stapleton), who remarks that her last boyfriend "ran Spain". These characters are so joyous and entertaining to watch that they are partly responsible for making "You've Got Mail" such a success.
Ephron has less success with Joe and Kathleen's better halves. Parker Posey, one of the ubiquitous queens of independent film, is given little to do and is too boring and insipid to inspire much interest -
no wonder Joe is less than enthralled by her presence. This is partly true of Greg Kinnear's character, though he is given a little more leverage by Ephron and is allowed some sparkling zingers at a cocktail
party scene with Posey.

Another mild flaw in "You've Got Mail" is the relentless number of oldies playing on the soundtrack - how many times do we need to hear "Rockin' Robin"? The only reason so many immaterial songs appear on the soundtrack is so that they can make more sales at record stores. Only the inclusion of Harry Nilsson's "Over the Rainbow" feels justified. The center of "You've Got Mail" is the movie star combo of Tom Hanks and Meg Ryan, and they are as delightful and adorable a pairing as James Stewart and Margaret Sullavan were, or Cary Grant and Rosalind Russell. Hanks is surefooted as he switches subtly from being charming and likable to mean and comically furious. Ryan is, for once, not too
bubbly or cute and handles her comedic scenes with flair and good timing. Her last scene, where her eyes fill with understanding, hope and regret, is stunning to watch. Combine that with Ephron's crisp,
often hilarious dialogue, and "You've Got Mail" makes for one of the best romantic comedies since "When Harry Met Sally."

Peter Bogdanovich's Search for Emotional Clarity

PETER BOGDANOVICH: 
SEARCHING FOR EMOTIONAL CLARITY  
By Jerry Saravia

When I think of a world class director like Peter Bogdanovich, usually 1971's "The Last Picture Show" springs immediately to mind. It is quite possibly his most mature, most quintessentially nostalgic film and yet what is best about it is its mature look at nostalgia without being swallowed by it. Set in a western town where relationships are frail and emotions threaten to erupt, it also shows that memories can last but the time and place it happens in may not. When Bogdanovich returned to this world in "Texasville," it felt unnecessary and protracted - that world of the original was gone and everyone had to try to move forward. And yet the film that most resonates with me from Peter Bogdanovich is not "The Last Picture Show" but actually a 1985 sleeper hit called "Mask." It may not be his best film but it is one I have returned to throughout the years since its initial release so, technically, it is my favorite. Not only is it emotionally rich and devastating, it also contains Cher's most superb, most fiery performance and somehow the director managed to coax a richly detailed and humanistic performance out of Eric Stoltz as the intelligent high-schooler with an unfortunate and extremely rare physical condition known as craniodiaphyseal dysplasia, Rocky Dennis.

The film has a sunny, California-centric feel to it, which is at odds with how everyone treats Rocky at first sight. Rocky experiences humanity at its ugliest, unable to get past their own prejudices or initial misgivings at someone's appearance. Whether it is the high school principal, the students or almost anyone else who did not grow up with Rocky, they gawk and they do not comprehend Rocky's disfigured look. Rusty Dennis (Cher), Rocky's biker mother who cannot tolerate these prejudices, is out to protect her son and to nurture him but there is a limit and some of life's hardships are beyond her control (when Rocky is feeling ill, she simply says, "Make yourself well"). Rocky can impress a blind girl who loves horses but he can't get close to those who can see his deformity, unless they work past it (the high school community eventually gets used to Rocky because he has a sense of humor and is intelligent). Rusty, at one point, hires a prostitute for Rocky for one night. She wants him to be happy yet, amazingly, thanks to Cher's nuanced performance as a fiercely honest woman and protective mother, she knows his time will be up soon. 

I don't know if this is Peter Bogdanovich's most personal film but it sure feels like it (he has been quoted that he made the film for his late lover, Dorothy Stratten, who related to the alienation of "The Elephant Man") . Maybe Peter also saw himself as Rocky or as Rusty, the latter as one who did not judge others no matter what they looked like. With all the films Bogdanovich has made (some better than others though we might want to forget his TV movie sequel to "To Sir, With Love" starring the late Sidney Poitier), I always found his best work ("Targets," "The Last Picture Show," "The Cat's Meow," "The Great Buster") always allowed room for nuance, for some form of emotional clarity and degree of sensitivity to his characters, in addition to his documentary subjects such as John Ford and Buster Keaton. (Peter also turned out to be a good actor, especially in the long gestation period for Orson Welles' "The Other Side of the Wind.") But it is finally "Mask" that shows Bogdanovich had a greater sensitivity than we ever imagined as a director - he found his footing in a story everyone could relate to. He had found emotional clarity.

Carrey and the Farrelly Brothers are embarrassingly mental

ME, MYSELF AND IRENE

Reviewed by Jerry Saravia

Viewed on March 5th, 2001

Jim Carrey can be as funny as anyone on screen with the right screenplay and the right director. He also proved to be humane and soulful in films such as "The Truman Show" and "Man on the Moon." The Farrely Brothers proved their comic worth in Carrey's "Dumb and Dumber" and with their obscenely hilarious "There's Something About Mary." Both Carrey and the Farrelys reunite in one obscenely unfunny and desperate film called "Me, Myself and Irene," which has a great comic premise that is hardly milked for all its worth.

Carrey plays a Rhode Island police officer named Charlie who is seen as a joke in his community. His wife has left him with three black kids, fathered by a snippy black limousine driver who happens to be a Mensa member! They run off together while Charlie is left to raise the kids. Years pass and the
community sees him less as an authority figure and more as a hapless fool. But Charlie is repressing his rage at people and it finally comes out in the form of Hank, complete with an attitude and a Clint Eastwood accent. Now the little girl who plays hopscotch on the street despite Charlie's warnings is
practically drowned by Hank! Not funny. The woman who buys a vaginal product at the supermarket and walks ahead of Charlie on line with tons of groceries is now embarrassed by Hank, who gives a full description of the product on the speaker system. Not funny.

Still, give the Farrelys credit for trying since I thought that eventually the film would find its comic rhythm and exploit the schizophrenic angle of Charlie. Not so. We are left with a plot involving Rene Zellweger as a woman on the run from some crooked cops and a crooked ex-boyfriend involving golf
clubs and some other assorted business, none of which merits as much as a chuckle. Then there is some more business involving an albino waiter who may be a family murderer and tags along with Charlie and the girl, but again, no major laughs to be found. So what we are left with are countless sexually
scatological jokes involving dildos, an actually funny scene involving a cow, a scene involving a chicken placed in an unlikely orifice, and so on. When a nearly dead cow gets the only major laugh in a Jim Carrey movie, you know you are in trouble.

I never liked "Ace Ventura" but I've admired Carrey in it, as I have in most of his films including the often riotous "Dumb and Dumber." For the first time, however, I actually found Carrey excruciatingly boring in this film, exuding little of his genuine comic talent or gift for mimicry. In fact, I am
also a firm believer that Carrey can act and he has a mental breakdown scene that is relatively touching to watch. Outside of that, if the Farrelys paid more attention to Charlie's character than Hank's and if they made Zellweger exploit her comic zest (shown to far greater effect in "Nurse Betty"), then
this might have been a real winner. Instead, it is the Farrelys merely coasting on sexual jokes and innuendoes galore with Carrey merely playing with a dildo or himself. Embarrassing is the word.

Boredom Seldom Interrupted

GIRL, INTERRUPTED (1999)

Reviewed by Jerry Saravia

I never thought that mental illness could be portrayed in such a stale, anonymous manner but that is how "Girl, Interrupted" unspools its subject matter. The film wants to make the case that mental
illness can be a state of mind for some, and a strong reality for others - If only the young women portrayed possessed some core of humanity.

The film begins with Susanna Kaysen (Winona Ryder), an 18-year-old who has just drunk a bottle of vodka while ingesting a bottle of aspirin. She is diagnosed with "borderline personality disorder," and
is thus sent to Claymoore hospital in Boston. The screenplay, adapted from Susanna Kaysen's true-to-life novel, never makes it clear whether Susanna admitted herself to the hospital or if her parents had her admitted. Nevertheless, she is taken in to Claymoore's psychiatric facility and supervised by a head nurse played by Whoopi Goldberg. Susanna is faced with an array of distinguished women such
as one who nearly burned her face off, another one obsessed with laxatives and chicken, and so on. The one foxy chick who seems truly nutty, pardon the pun, is Lisa (Angelina Jolie), a highly dangerous
sociopath who confuses her aorta with her neck. Lisa feels threatened at first by Susanna but gradually, they click.

While watching "Girl, Interrupted," I was reminded of the stark documentary "Titicut Follies" by Frederick Wiseman, which dealt with the horrors of a mental hospital. When you saw the patients, you knew they were patients afflicted with an illness. The same holds true of Milos Forman's maniacally classic "One Flew Over the Cuckoo's Nest." "Girl, Interrupted" features patients that might be at home in TV's "Dawson's Creek" - that might be a little extreme but these women hardly seem troubled, only bland occupants of a far too sanitized looking institution.

The problem lies in the screenplay that supplies character types, not true characters of depth and emotion. Susanna hardly seems the slightest bit troubled - her scene with the psychiatrist should have
convinced him that she was perfectly sane but what do I know. Perhaps in 1967, before Prozac became a household name, psychiatrists had their own preconceived notions of what mental illness was. But these girls seem relatively harmless, even to themselves. This is more like a watered down version of "Cuckoo's Nest," and far too bland to inspire much interest.

The sparkle of "Girl, Interrupted" can be found in Jolie's vibrant, edgy performance. She brings soul and an allure to Lisa, and it is gut-wrenching to watch her. Her long blonde silvery hair and big,
clownish lips evoke a tough, sexy demeanor that is riveting to watch. I would have followed this complex character anywhere. The rest of "Girl, Interrupted," however, is yawn-inducing and lacking
in thematic richness. It sort of drifts away and hardly leaves a trace of itself. The boredom is seldom interrupted.