Lantana

Rating:
Summary: C O N N E C T I O N S
Review: The year 2001 will go down in film history thus far at least, as the watershed Year of the Adult Thriller and "Lantana" is the latest example of this sub-genre. Others this year would be "Burnt Money," "In the Bedroom," "Dinner Rush," and "L.I.E." to name several.
All the Adult Thrillers have one or more of the following in common: a crime (usually a murder), several plot lines, mis-connection among the various characters, though they may be connected by marriage or birth and literate scripts involving adult material.
"Lantana's" central character, Leon Zat (Anthony LaPaglia) is a police detective conflicted about his impending middle age, his marriage and his recent affair ("2 night stand") with Jane (Rachael Blake) who has just broken up with her husband. Leon's wife,Sonja (Kerry Armstrong)knows something is wrong and is seeing a psychiatrist, Valerie Somers (Barbara Hershey) who turns up missing one day and sets the movie in motion.
Along the way we witness some of the finest, most profound dialogue and ensemble acting of this year. As in "In the Bedroom," the pathos comes from character not situation: the actor interpreting, ingesting really the core of the character and using the script as a jumping off point; improvising, in a way, his reactions based on the "facts" of the storyline.
Anthony LaPaglia is a genuine revelation here. In his work thus far where/how was he hiding this amazing depth of talent? His Leon Zat is a macho, confused, rabidly sexual, violent yet tender and loving man who finds himself at a crossroads in his middle life: he loves his wife and family, he loves his work but he's thinking of chucking it all to do...what? It's never really resolved and this is all to the good of his character and of the film in general. Nothing in this film is tied up with a ribbon and resolved...for sure or for good.
The women in Leon's life, Kerry Armstrong and Rachael Blake turn in strong, nuanced performances with Blake making the stronger impression I think, because of the showier role. Blake's Jane calls to mind women of 1950's melodrama's like Rosalind Russell in "Picnic" : prim and proper, together women out in public; but behind closed doors: heartsick, needy, always with a drink in their hands. Good women, just flawed like the rest of us.
Ray Lawrence's "Lantana" is a wise, beautifully acted and well-observed film that demonstrates, once again that it's the connections in life that matter; and that we are always looking for the right one.

Rating:
Summary: Aussie drama for the Adult viewer
Review: I saw this movie when it opened in Sydney and have never been in a cinemia where the audience was catptivated from start to finish, the silence at the end was amazing. If you are after a movie experience that explores the fears and dramas of living in the contemporary world and surviving a relationship this is a must see. A note of caution, this is Australian drama, set in the Aussie culture and may not suit some narrow minded US critics that have never left their home state, you need to think and feel to enjoy this movie. Finally it is great to see drama that has not been Americianised and truned into some generic Americian nightmare. Men can learn a lot from this movie - if they chose.

Rating:
Summary: Trust me, I love you...
Review: Do you trust your partner? Totally? Do you think they would be capable of having an affair? Could they be betraying you about their sexual orientation? Could they kill someone and not tell you? If they denied any of the above, would you believe them unequivocally? What about your friends, say, your best friend...could he or she have an affair with your partner? And everything you say in the sanctity of a professional relationship with your psychiatrist, surely you can trust in confidentiality here? Can you trust your own body? Your own self?
*
Questions like these arise naturally on seeing this brilliant film. Make sure you see it with a friend, or a group of friends, better still a few enemies too, because you'll want to talk about it afterwards, and the discussion is likely to be as interesting as the film itself.
*
Trust is central, and it is explored in a myriad of nuanced relationships and situations. The husband and wife relationship is viewed in several forms, but trust is also tested between parents and children, work colleagues, even between the audience and the film itself - our expectations are, after all, constantly being played with, and if you expect a conventional thriller, as the opening shots might promise, then you will be disappointed. If you expect psychological depth and highly crafted film-making, then you're in for a treat.
*
This film looks and sounds great. If somehow you manage to stop yourself thinking about the characters (and judging them (and then revising those judgements)), you can wallow in the moody art direction, editing, and score.
*
The actors are all brilliant and, given that in most cases they are better here than elsewhere, the director, Ray Lawrence, deserves much of the credit. Kerry Armstrong, in particular, is just superb. Even the more opaque and less likable characters demand the audience's attention, and reward further dissection - Geoffrey Rush and Barbara Hershey won't allow us an easy view of their secrets, but then they are no easier on each other, possibly no easier even when facing a mirror.
*
Go see this. It just might be the best Australian film ever made. In terms of psychological interest and depth the only comparison I can think of is with Bergman - in terms of sheer cleverness and playing with our expectations of the medium, Hitchcock. It really is that good.

Rating:
Summary: Australian movies makers do it again
Review: I saw this movie on the big screen in Australia and was enthralled from start to finish. I have never been in a movie where the audience does not talk either during or until after the credits roll. The complex nature of characters and relationships, along with the depth of the script and sensitivity in direction requires the viewer to be carried into their own fralities and challenges males in particular to experience the emotion of the characters. A very refreshing movie for adult audiences, not recommended for those after guns, reckless driving and other cheap hollywood stylising.

Rating:
Summary: Gentlemen.... Start your brushcutters!
Review: I don't walk out of many films but my stamina was recently truly tested. I felt, not unlike many of the films characters... deceived. The film I am referring to is the recently released, critically acclaimed AND exceedingly overated 'Lantana'.

The opening scene of the camera moving slowly over and into a dense flowering thicket of the films namesake offers the promise of something special. The sound of cicadas and the feeling of growing claustrophobia as we move deeper into the darkening mass reveals the closeup of a bare and bloodied foot. The lens follows along the leg finally exposing the body of a women face down deep within this tangle of branches and vines. She lies motionless and contorted with an arm twisted behind her back. Yes indeed something sinister is a FOOT! The camera concentrates briefly on her open hand until it slowy pulls back fading into darkness. But from here on the moment is lost.

Leon Kat (La Paglia) is a tired tormented detective with a mid life crisis on his hands. Leon is no longer able to communicate with or give his wife Sonja (Kerry Armstrong) the emotional fufilling marriage she so desperatlely needs. Sonja begins seeing a therapist Valerie Somers, (Barbara Hershey) who's eleven year old daughter, Eleanor, was murdered two years earlier. Valerie has written a book about her experience titled.... "Eleanor".... of course. She has put herself in the spotlight to promote the book. (After all that's what American therapists all do... isn't it?) Valeries own surpressed grief of losing Eleanor is interwoven with the guilt of exploiting the situation. This has caused problems in her own marriage with her husband John Somers (Geofferey Rush). Detective Leon is doing indeed what Sonja ultimately suspects. Having an affair with the recently seperated Jane O'may (Rachel Blake) who attends the same Latin dances classes as Leon and Sonja. Jane's estranged husband (Glenn Robbins) stills pines for Jane and pressures his ex neighbour and friend Nik D'Amato (Vince Colosimo) to confide in him if she is seeing anyone else. So while Nik watches Jane.... Jane watches Nik! In parallel, therapist Valerie (Barbara Hershey) begins to doubt her own husbands fidelity after spending several session counselling the gay Patrick Phelan (Peter Phelps) who has confided in her that he is having a relationship with a married man. (Are you still with me?) Patrick spends so much time counter anaylising Valerie that one begins to question why he bothered coming to her in the first place. Does he know something about Valerie? Valerie begins to suspect that Patrick's lover is indeed her own husband John (Rush).

And so it goes getting more tangled and interwoven just like the noxious weed Lantana itself. Then suddenly Valerie mysteriously disappears leaving her car abandoned on a lonely road. Jane (Rachel Blake), Leons lover, suspects her neighbour, Nik D'Amato (Vince Colosimo) has something to do with Valeries disappearence and detective Leon (who else) is called in to solve the case. As part of the investigation Leon studies Valeries patient files and begins to uncover more than he bargained for etc, etc. From here on in all the twisted vines begin to merge into one.

La Paglia as Leon does a reasonable job under the circumstances and both Kerry Armstrong and Rachel Blake are uniformally excellent, sparring for the attentions of the confused Leon. Hershey however would look more at home in Madam Toussauds waxworks, and the wasted Rush who appears decidedly uncomfortable with his role as the two dimensional John, is just totally out of place.

The writer, Andrew Bovill (Speaking in Tongues on which Lantana is based) seems to have tried to create a 'Shortcuts' meets 'Halifax FP' meets 'Days of Our Lives'. As a result 'Lantana' is quite simply too clever by half... or maybe three quarters. I admit I entered the theater with high expectations. After all 13 AFI nominations AND apparent critical public acclaim to boot. Not an easy task for any film to score on both fronts. There is no shortage of big names, La Paglia, Rush, Hershey. But nothing they can do can pull this one out of the tangled mess that it is. Lantana falls for the same cliched signposts that are commonplace in too many 'B' grade pyschological telemovies. While infidelity, deceit, mistrust and guilt are commonly reoccurring themes in both real life and subject matter for filmmakers, they are not pulled off at all well in Lantana. It simply relies on too many improbable coincidences to tie it all together making one gasp... "Oh no... not again!" Yet films such as Altman's 'Shortcuts' and the '99 release 'Magnolia', while also relying on the interconnectivity of the characters, manage to not jar ones senses of probabilty in quite the same way.

I expect this Australian movie has been engineered to target the American market. After all why headline such an overated pyschodrama with the likes of the 'American' Aussie expatriate La Paglia, the familar Hershey and waste the talents of the universally acclaimed Rush in such a banal role? Bad career move, Geoffrey! The often painful and predictable dialogue spends too much time alluring to the obvious and the unispiring camerawork and Paul Kellys soundtrack work overtime making sure that we don't miss the point... or at least what we think is the point. Bovills attempt at convoluted cleverness comes at the expense of any really satisfying character developement.

If the reviews hadn't been so glowing, the cast so acclaimed... my expectations may not have been so great. I have asked myself on more than one occassion since "Did I miss something?" To lay claim as some reviewers have, that 'Lantana' is one of the best films to ever come out of this country (Australia) quite simply casts a blight on those far worthier. This is no cinematic triumph however one may disect it.

I'm left to wonder if the critics have been working as election campaign spindoctors on their days off.

It's such a shame that far too many fine people wasted their talents on what amounts to little more than a second rate telemovie. Lantana tries so hard to be clever but comes out looking exceedingly amateur.

I would be surprised if we see or hear of director Ray Lawrence or writer Andrew Bovill for some time to come after this foray into the weeds.

Conclusion.... Spend your fifteen dollars on a home delivered pizza and a video of Robert Altman's 'Shortcuts'... far better value!

P.S. I look forward to seeing what Kerry Armsrong and Rachael Blake can really achieve with a decent script.

Rating:
Summary: phenomenal film for adults (about time, huh?)
Review: Just caught "lantana" at the Boston Film Festival. Get a sitter for the kids, and go see one of the best films geared for grown-ups I have seen in a long time.
anthony LaPaglia, Geoffrey Rush, and Barbera Hershey are amazing in this film. I can't describe it without giving anything away, but here goes.
As the film opens, we see a body, battered and dented in the trees. The dead person is female, and has a wedding ring.....

The rest of the film keeps you guessing, who is dead? how did this person die? who-dun-it? All the while the mystery deepens, you meet 4 different married couples (none of them stable), and a gay man. How these people's lives connect and interconnect is what is amazing in this film. Bravo and well done. An excellent performance by LaPaglia.

Rating:
Summary: C O N N E C T I O N S
Review: The year 2001 will go down in film history thus far at least, as the watershed Year of the Adult Thriller and "Lantana" is the latest example of this sub-genre. Others this year would be "Burnt Money," "In the Bedroom," "Dinner Rush," and "L.I.E." to name several.
All the Adult Thrillers have one or more of the following in common: a crime (usually a murder), several plot lines, mis-connection among the various characters, though they may be connected by marriage or birth and literate scripts involving adult material.
"Lantana's" central character, Leon Zat (Anthony LaPaglia) is a police detective conflicted about his impending middle age, his marriage and his recent affair ("2 night stand") with Jane (Rachael Blake) who has just broken up with her husband. Leon's wife,Sonja (Kerry Armstrong)knows something is wrong and is seeing a psychiatrist, Valerie Somers (Barbara Hershey) who turns up missing one day and sets the movie in motion.
Along the way we witness some of the finest, most profound dialogue and ensemble acting of this year. As in "In the Bedroom," the pathos comes from character not situation: the actor interpreting, ingesting really the core of the character and using the script as a jumping off point; improvising, in a way, his reactions based on the "facts" of the storyline.
Anthony LaPaglia is a genuine revelation here. In his work thus far where/how was he hiding this amazing depth of talent? His Leon Zat is a macho, confused, rabidly sexual, violent yet tender and loving man who finds himself at a crossroads in his middle life: he loves his wife and family, he loves his work but he's thinking of chucking it all to do...what? It's never really resolved and this is all to the good of his character and of the film in general. Nothing in this film is tied up with a ribbon and resolved...for sure or for good.
The women in Leon's life, Kerry Armstrong and Rachael Blake turn in strong, nuanced performances with Blake making the stronger impression I think, because of the showier role. Blake's Jane calls to mind women of 1950's melodrama's like Rosalind Russell in "Picnic" : prim and proper, together women out in public; but behind closed doors: heartsick, needy, always with a drink in their hands. Good women, just flawed like the rest of us.
Ray Lawrence's "Lantana" is a wise, beautifully acted and well-observed film that demonstrates, once again that it's the connections in life that matter; and that we are always looking for the right one.

Rating:
Summary: Good movie!
Review: Four couples are intertwined in this slow paced thriller. Eight persons are involved in different emotional levels, where the lpneliness and the hopeless are the common denominator from this very interesting human puzzle. La Paglia makes a sensnitive role ; obviously Hershey and Rish makes the conflictive couple in which the script will focuse. Rachel Blake as the lover of La Paglia is surprisingly good , she looks freh and very natural.
An australian film that will reward you.

Rating:
Summary: The Perfect Movie
Review: Lantana unravels on screen much as a great novel unfolds on the page. Short scenes tied together by superior acting, tremendous writing and the perfect score make for an edge-of-your-seat, adult thriller that confounds and amazes.

This movie takes nothing for granted. There are no wasted characters, scenes, lines or afterthoughts. It is precise, economical and complimentary to those who enjoy not having their intelligence insulted by their movies.

Lantana introduces us to a finite universe where each character is either directly or indirectly related to each other, to tragedy, heartache and hope renewed. It is a shared secret amongst a community of shrouded truths.

I encourage you to not only watch this movie; but to study it as well. It is what all movies should be - masterful storytelling. I've given away nothing of the plot to ruin the experience for you. However, if you chose to devote two hours of your life, do so expecting amazement. But be sure to keep your five senses alert. This movie leaves no part of you untouched.


Rating:
Summary: WHAT A PIECE OF TRASH!
Review: I AM VERY ANGRY WITH THOSE THAT WRITE GLOWING REVIEWS ABOUT BORING, BAD, HORRIBLE TRIPE. THE REASON I AM ANGRY WITH THEM IS SIMPLE; WHY DO THEY LIE? WHY DO THEY GIVE 5 STARS TO A -10 MOVIE. THIS MOVIE IS BAD, SO BAD IN FACT THAT I DID NOT WATCH THE ENTIRE MOVIE. I HAD TO STOP IT HALF WAY AND I WILL NEVER WANT TO FINISH THIS PRETENCIOUS #&^&%&$%. FORGIVE MY LANGUAGE, BUT I CAN NOT BELIEVE THAT PEOPLE COULD INDEED BE SO GULLIBLE AS TO THINK THIS MOVIE IS WORTHY OF MORE THAN ONE STAR.