Rating: 
Summary: OK, 4 1/2 stars! :)
Review: Two words: GREAT MOVIE! Both Kevin Bacon and Brad Renfro (who just became my new favorite actor, I think!) were excelent, and the story is wonderful. Nice to see Calista Flockheart looking relatively normal, and not rail-thin. I really liked the part Brad goes to Calista when his whole world seems to be crashing down around him. Also, when the one woman said that he was "gentle." Very sweet moment. If you haven't already, SEE THIS MOVIE! The only reason I saw it was because Jonathan Rhys Meyers was in it, but he kinda had a small part. I would have liked to see more of him, and I would have liked to see about what he talked about in confession (if you've seen it, you know what I mean). Anyhoo, great flick, and I highly recommend it!
Rating: 
Summary: Lyrical Remembrance
Review: When he wasn't writing trashy, empty thrillers (Basic Instinct, Jade, Sliver), Joe Eszterhaz must have been reminiscing about his childhood, modulating what would eventually become Telling Lies In America, a great, tender, beautifully rendered film. Set in the early 1960s Cleveland Ohio, it is the story of Karchy Jonas (Brad Renfro), a 17-year-old son of a Hungarian mill worker (Maximilian Schell) who had been a PHD in law in the old country. Something, Karchy never fails to mention to all the authority figures in his life. All the father wants in life is for he and his son to become naturalized citizens. Duly, Karchy goes to the expensive school the old man has obviously strained to pay for where, unpopular, he bluffs about all the things there are to bluff about. He works nights at a grocery store where Diney (Calista Flockhart) also works in a pained saddened silence. He comes on to her with his obvious bluffs, the little lies that are so obvious to the worldly Diney that she pities him, or is amused by him. At night he comes home to the little house he shares with his father, looks in the mirror and desperately tries to pronounce "the" which without exception always seems to come out "da". Its fair to say that Telling Lies In America has its fair share of cliches. Those little cornets every coming of age film has to play. You have your hypocritical teacher/priest, your unattainable female Diney, her overbearing suitor Henry (Luke Wilson) and most importantly, Billy Magic (Kevin Bacon). Magic is one of those characters most filmgoers could draw from memory; the slicked back hair, the envy inducing array of lady-friends, babbling on his radio show in his all important "slanguage" while he offers his listeners some "ear conditioning" on a particularly hot day. Karchy is in awe of him. Except that the film wastes no time in exposing Magic as damaged goods. And Bacon, in some wry moments lets some of the man's bitterness show. Magic seems to like Karchy too, maybe he sees himself in the kid who can't help but showoff all the time. Or more ominously, he sees a profitable way to employ Karchy's masterful aversion to telling the truth. The director Guy Ferland gives the film a luminous, late 50s early 60s memorabilia rich look. The score by Nicholas Pixe, a trickling of organ, is stated only in the film's key scenes. It's a good sign, especially in a period film, when the direction and the music only impress in retrospect, rather then stick out and draw attention to themselves. They work in congruence with the story. The effect is that of nostalgia. Not hokey nostalgia, but the memories of growing up, with its highs and lows compressed into a hypnotic two hours. The cliches are not cliches if they're happening to and around people you know. Telling Lies in America will touch those nerve endings that responded to Barry Levinson's Diner. Even if this one isn't as witty with its dialogue or as generous with its guffaws, I like it better. I like the way Eszterhas weaves the humor of the Spanish fly episode, the familiar tale of a self-loathing bully into the story of a kid who just wants to be liked, without stepping into one saccharine puddle. Right up to it bittersweet ending, the film never hits a false note. It maybe ironic, that Karchy who is essentially a stand in for Esztherhas learns that he "doesn't have to showoff so much", has spawned the writer who would write a lot of showoffy trash. You'd think that it would take a very special film for me to forgive Showgirls. Luckily for him, this one is.
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