roning

This is, in my opinion, one of the best American films of the 90:s. Sorkin's well written dialogue must have been an easy task for Reiner to direct. Everything works! This story rises tough moral questions but do not serve us the answers on a plate. And that's a good thing because it makes us think. Cruise does a good job doing the immature Kaffee with his father's heavy reputation hanging over him and Nicholson is, like always, outstanding. And the encounter between the two in the court room in the end is a classic. Cruise, in this scene, really proves to be not "just another pretty face". Another good thing is that in the closing scene, the flirty talk between Kaffee and Galloway is stricken. It would have been too cute a finish, unworthy a drama like this. Top marks.

"Titanic" is a technical masterpiece and the love story between Jack and Rose have got an epic touch. But somewhere the characters don't seem to fit into the time frame of the 1910:s. Maybe Cameron meant to put people with the 1990:s way of thinking and acting into another time, what do I know, but this really is the weakness of this exceptional movie. But, as I said, technically it would get top marks and every time I see it I get surprised that three hours have gone so fast.

I tend to like movies, like this, with a "naive epilogue". It's really a warm and positive story. Harrison Ford in some phases of Henry's rehabilitation period really does some convincing acting, but in some he falls through. It must, of course, be hard to play someone with physical disabilities (we can't expect everyone to do it as good as Leo di Caprio in "What's eating Gilbert Grape"). The film as a whole is very good, I think, because it shows how we all really wear iron masks when we get too stuck in rat-race and cynical attitudes. In "Henry's" case he loses his mask and has to make a new start.