MISERY

Kathy Bates

MISERY (1990). Director: Rob Reiner. Based on the novel by Stephen King.

"If you don't enjoy your own company, you're not fit company for anyone else." -- Annie Wilkes.

"You'll never know the fear of losing someone like you when you're someone like me." -- Ditto.

Novelist Paul Sheldon (James Caan of Games), who made millions writing about a woman named Misery, has just finished a new book with which he hopes to get more respect as an author. After a car accident he winds up at the home of his "number one fan," Annie Wilkes (Kathy Bates of Cheri), who tells him that the roads are impassable due to a blizzard and the phone lines are down. In reality, Annie wants to keep the bedridden, crippled Paul all to herself. As the weeks go by Paul realizes that Annie is keeping him prisoner and cutting him off from the world and everyone who knows him. He also comes to realize that Annie is a truly dangerous sociopath ...

James Caan

Misery is an enjoyable and absorbing picture that focuses on a frightening dilemma for the protagonist who finds his situation becoming more and more sinister with every day. However, the characterization in the film is lacking, with Paul being a one-dimensional "famous author" and not much else -- you really don't learn much about him except that after making lots of money he now wants the critics' respect. You learn a bit more about the psychotic Annie, who has probably had a long career of killing people, but the origins of her psychosis are never explored.

Desperate struggle: Bates vs. Caan

Kathy Bates won a Best Actress Oscar for her work in this film. Although she's good in her own understated way, I didn't think her performance was Oscar-worthy back when the film was first released and I don't think so today. She often seems over-rehearsed. James Caan, who in general (despite some perfunctory moments) gives a more solid performance in a much, much more difficult role, wasn't even nominated. Reiner's direction is good even if it seems by the numbers at times, and the film could have been cut by a good twenty minutes, tightening up the tension and the pacing. Richard Farnsworth is fine as the cop "Buster," as is Frances Sternhagen [Outland] in the tiny role of his wife. Lauren Bacall is similarly good in the small role of Sheldon's agent.  And we mustn't forget Misery the pig, the cutest hog since Babe.

An amusing sequence has Annie railing about how the cliffhanger serials she saw as a girl often cheated, showing a car with the hero apparently trapped inside going off a cliff one week, and then inserting the hero jumping out of the car beforehand in the next episode. On this, the deluded Annie is mostly right, although there were some serials that played fair.

Verdict: Fun movie with some truly horrifying moments and one pretty good shock. ***. 

POSTCARDS FROM THE EDGE

Meryl Streep and Shirley MacLaine

POSTCARDS FROM THE EDGE (1990). Director: Mike Nichols.

Sent into rehab after a nearly fatal overdose, actress Suzanne Vale (Meryl Streep) is told that the insurance company will only allow her to make her next picture if she moves in her with mother, star Doris Mann (Shirley MacLaine), who is an alcoholic! Suzanne and her mother have a loving but difficult relationship with the latter wanting success for her daughter despite the occasional bout of jealousy, and the former bridling against her mother's perpetual, well-meaning "advice.".Based on a semi-autobiographical novel by Carrie Fisher, the daughter of Debbie Reynolds, this is obviously about the two actresses, although it could just as easily be about the real Shirley MacLaine and her daughter, Sachi Parker (not to suggest that Parker was ever in rehab).The two leading ladies are both excellent, perhaps making their characters more sympathetic than they might have been in real life, Dennis Quaid is notable as a man who (seemingly) gets involved with Suzanne, and there's a nice bit from Annette Bening as another of his girlfriends. It's delightful to see Mary Wickes as the grandmother, whose relationship with Doris is as problematic as Doris' with Suzanne. Michael Ontkean [Making Love] is seen all too briefly as Suzanne's co-star in the cop thriller she's making. Rob Reiner, Gene Hackman [The Firm], and Richard Dreyfuss [Piranha] are all effective in important character parts. The musical highlights of this very entertaining movie include MacLaine nailing "I'm Still Here" from Follies, and Streep doing a snappy rendition of "Heartbreak Hotel" for the finale.

Verdict: Mothers and daughters, neurotic Hollywood-style. ***.

THE WOLF OF WALL STREET

Leonardo DiCaprio

THE WOLF OF WALL STREET (2013). Director: Martin Scorsese.

"Their money was better off with me. I could spend it better."

The "true" story of crook Jordan Belfort (Leonardo DiCaprio), who ripped off numerous clients with his firm Stratton-Oakman, then had the gall to write a book about his exploits after he was imprisoned. The movie shows how he began it all, how he justified his actions, and the sex-and-drug lifestyle he became addicted to. While Wolf is admittedly fast-moving and sometimes funny, it's still basically three hours of looking at the life of a bigoted, self-important loser who barely deserves five minutes of our time. The movie doesn't necessarily condone his actions -- it just lets Belfort via DiCaprio [Inception] damn himself with his words and deeds -- but one could easily argue that Scorsese has offered Belfort a self-serving platform, covering up for him, and is just offering up another portrait of lowlives as he did with his mafia movies. Belfort acts as if his schemes are so brilliant, but a really smart person could have achieved his goals honestly. DiCaprio is okay and there are some good supporting performances from Rob Reiner, Jon Favreau, and Matthew McConaughey [Killer Joe] and others, but surely Scorsese [Shutter Island] can come up with better subjects than this?

Verdict: Vastly overlong study of a complete loser but generally well-acted and well-made with perhaps more entertainment value than it deserves. **1/2.