FilmJerk Favorites

A group of unique directors and the essential works that you've got to see.

||| Rob Reiner |||
Rob Reiner

Son of comic genius Carl Reiner, Rob Reiner has picked up the family torch and directed some of the most memorable, quotable, and endearing comedies of the last two decades, and he’s no schmuck when it comes to dramas either.

This is a hilarious spoof filled with biting satire about a filmmaker making a documentary (or “rockumentary” if you will) about a once famous raucous British heavy metal band on a disastrous U.S concert tour, featuring the magnificent talents of co-stars/co-scripters Christopher Guest, Michael McKean and Harry Shearer. This granddaddy of the mocumentary speaks to the hard rockin’, air guitar playing 14-year-old boy in us all.

In this low-key sleeper hit based on a Stephen King story four young boys in 1959 Oregon set out on a camping trip in order to see a dead body one of them accidentally found. This is a loving memoir to a simpler time with an exceptionally talented young cast tentatively taking the steps on a road that leads to maturity.

Reiner turns a wry, even caustic, eye on men and women in friendship and in love, and that gray area in between. This is an engaging and smartly performed comedy about a pair of longtime platonic friends who turn a feud into a lasting friendship, determined not to let sex mess up a great relationship, until love threatens to ruin everything.

Recommended by CarrieSpecht

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Derailed (BrianOrndorf)

By BrianOrndorf

November 11th, 2005

“Derailed” has initial promise to be one of those sexy, exciting adult thrillers that just aren’t made much anymore. Good performances by Clive Owen and Jennifer Aniston lead the way, but the film just can’t leave well enough alone. Soon dissolving into twists and multiple endings, “Derailed” had a good thing going, but fails to maintain it.


Facing a life filled with draining family and work commitments, Charles (Clive Owen) is starting to wear out. On a commuter train, Charles meets Lucinda (Jennifer Aniston), an attractive businesswoman who takes an immediately liking to him. The attraction is intense, with Charles considering infidelity to release his frustrations. Electing for a seedy motel, the two rent a room for their tryst, and as the evening progresses, a petty criminal (Vincent Cassel, “Ocean’s Twelve”) bursts in, beating Charles to a pulp and raping Lucinda. Consumed with guilt, Charles is confronted with even more hell when the thug begins to terrorize him, demanding large sums of money or he’ll reveal Charles’s moment of indiscretion to all.

“Derailed” is a modest thriller experience from a bygone era of cinema, spiced up to fit in with today’s “every moment is a con” aesthetic. When it sits there and plays straight, the picture clicks, and benefits from simplicity; yet, the studio (the debut film for The Weinstein Company) couldn’t leave well enough alone, making the title a little too appropriate for the film.

If there’s anything that director Mikael Hafstrom gets absolutely right it’s the claustrophobia in Charles’s life. Dealing with a sick child, a preoccupied wife (Melissa George, “The Amityville Horror”), and a job he’s too smart for, Charles isn’t looking for trouble, but when Lucinda enters his life, the desire for attraction and connection is sold with crystal clarity. Through Owen’s durable performance, the audience feels Charles inching toward that critical decision of unfaithfulness, slowly but surely. Charles pursues Lucinda in highly cinematic ways, but the actors’ chemistry quickly takes over, making that big leap with palpable connection and crucial sexual urgency.

Eventually, “Derailed” swerves over into thriller mode. With Dan’s mistake slowly haunting his every move, Hafstrom keeps the story (based on a novel) briskly moving, covering the plot holes and coincidental whoppers well with sharp direction and good performances. Vincent Cassel makes for an exceptionally wonderful villain; sliming his way around the frame, creating a memorable representation of a threat, Cassell is fun, even when he gets a bit too operatic with the role. With the heat on Charles and Lucinda, “Derailed” heads to many familiar places, but is reliably engaging.

The troubles of “Derailed” only sink in during the film’s final act, when the tale begins to twist in ways that are unnecessary and deal a critical blow to the swift pace. Hafstrom likes to weave in complications for Charles throughout the film with various murders and lies, but the payoff is a little too bombastic for what’s preceded it. “Derailed” eventually becomes a film that never ends, trotting out about three different conclusions, each with the hope of riling up the audience into applause. Instead, the multiple endings just drag the film out way past its expiration, and damage the experience. “Derailed” is swift entertainment, but its greediness poisons the punch.

My rating: C+