When I first saw this movie I was touched. I was also fifteen and pregnant. It helped me to understand how my life would be turned upside down and still turn out alright. I got to look at all points of view. How tina felt and how her mother had to struggle to try to keep her family togteher. I would recomend this movie to any body. Fahter or mother.

"Whodunnit?" This movie tries to answer that -- in 1924, a star-studded boat trip went wrong when someone got shot, and the truth of it was never investigated. This is one thing that might have happened. The actors appear to be enjoying themselves romping through Roaring 20s decadence, but rise to the occasion when genuine acting is called for. It's like an Agatha Christie murder mystery, except no Miss Marple or Hercule Poirot.

A bunch of Hollywood glitterati arrive at a boat belonging to William Randolph Hearst, a rather obnoxious Hollywood mogul. Also on the boat is Marion Davies, Hearst's actress mistress, who is being actively pursued by Charlie Chaplin (who recently got his sixteen-year-old costar pregnant), a cool-and-calm eccentric novelist Elinor Glyn, irritating columnist Louella Parsons, fading superproducer Thomas Ince and his frustrated girlfriend, and a slew of others. Rumors fly about Marion and Charlie's suspected affair, and though Hearst doesn't want to believe it, the clues pile up -- with the assistance of Ince, who wants Hearst to be his business partner. A single gunshot threatens all of them...

This is one of the movies that probably won't appeal to the average viewer, simply because a lot of the people in it, with a few exceptions like Chaplin and Davies, are not now remembered clearly. But if viewers can shut off their "hey, I don't know who that was" signals, then they will find a sort of whodunnit without the detective, a juicy soap wrapped up in a mystery wrapped up in a "Hollywood what-if" tale. Perhaps the biggest problem is that the last part is a bit anticlimactic and the buildup is rather insubstantial -- the biggest buildup is Hearst tearing through the boat in search of Chaplin.

Kirsten Dunst shines brightly as Marion Davies, showing both a deeply conflicted young woman and a flirty party girl. She's never been better, even if she does wear a giant butterfly on her head. (Weird headpieces are a constant in this movie -- watch for Tilly's birdcage) Cary Elwes of "Princess Bride" returns as a desperate man who will go the extra mile to revive his career. Edward Herrmann plays a very intriguing Hearst, who is both obnoxious and tender, jealous and angry, controlling and generous. Eddie Izzard plays an insincere predator as Chaplin, who cares more about the conquest than about the woman; Joanna Lumley is rather underused, but she imbues all her scenes with a hilarious dry wit; Jennifer Tilly plays an irritating flibbertigibbet who has an unexpected cunning streak.

The dialogue is fast, dry and enjoyable -- one of my favorite lines was "Hollywood, a land just off the coast of the planet Earth." There's some sexual content (nothing too graphic) and a fair amount of profanity; teens who like Kirsten Dunst particularly will enjoy this, but younger kids will be bored silly.

This is not the movie that will appeal to the bubble-brained. But anyone who likes witty dialogue, sparkling costumes, a well-thought-out plotline and the shivering thrill of wondering if this was how it happened will think "Cat's Meow" is the cat's pajamas.

Having seen the previews during a lazy summer, I figured it would be fun to take my girlfriend and her little sister to a cute little movie spoofing beauty padgeants. Never in my life have I laughed so hard in the theater. I could barely stay in my seat. The twisted, dark comedy was absolutely unexpected, ruthless, undaunting and hilarious. For those of you who are familiar with the state, the Minnesota jokes are right-on-target. The mentally-challenged mocking was tasteless, crude and offensive, but all those of us who saw it know it was funnier than hell. Any of you who have a taste for black comedy and don't take life too seriously should see this movie. I promise you will be pleasently surprised.

While listening to The Cure's "Plainsong" a few hours ago, a track included in Sofia Coppola's latest feature film, which chronicles the iconic Queen of France, the motion picture really came together for me. "Marie Antoinette" is, undeniably, one of the most polarizing and bold films I have seen to come out of Hollywood in some time and perhaps Coppola's greatest achievement thus far; yes, better than Lost In Translation, folks.

Critics have unfairly attacked it as a celebration of decadent flair over substance, and while I had also shared these censures, I really feel people are misunderstanding the motion picture. Those looking for an accurate explanation of French history will be sorely letdown. I'll come out right now and say it, "There is no beheading!"

"Marie Antoinette" is a much more private and introspective experience. Coppola's focal point here is nothing more and nothing less than the manipulation of adolescence. Though Marie may have been excessive from time to time, there is more to her story than what has always been perceived. She was merely a teenager when she was uprooted and forced into foreign lands that held her, as well as Louis XVI to unattainable standards; their tragic exploitations serve as only more proof of how outdated and senseless the monarchy was. Sofia Coppola's prevailing test, undoubtedly, is to reverberate empathy for this young woman, and despite almost impairing it with a hefty illustration of the character's gluttony, Coppola, in due course, is winning.

Going back to my allusion of The Cure's "Plainsong", the film really works as something of an ill-fated fairy-tale. We know the doomed fate of our heroin, and thanks to Coppola it is a captivating journey, reminiscent of the song, with delicate instances of passion and affection, graciously supplied by Kirsten Dunst and a notable supporting cast, that makes us dread the inevitable conclusion. Wisely, Coppola restrains from placing in a spiteful guillotine scene, which would be absolutely unnecessary after the tender and personal feature it is throughout.

Now onto the feature's vastly-criticized directorial choices, I really think Sofia Coppola has produced the most contemporary period piece since Milos Forman's "Amadeus". From the daring incorporation of 80's New Wave as well as classical music to the energetic cinematography and editing, "Marie Antoinette" is a masterpiece in audaciousness.

The soundtrack is, easily, one of the best I have heard in a while. It actually aids in encapsulating the youthful spirit Coppola wants Marie to have. Those who pay close attention will appreciate the progression in the music and how it depicts the main character's emotions; it begins quite buoyantly and slowly becomes mellower. New Order, The Cure, Bow Wow Wow, The Radio Department, and The Strokes can all be heard during the film.

Even the costumes have a bubbly gaze to them. I know who is going to snag the "Best Set Direction" and "Best Costume Design" Oscars this year. Coppola really takes advantage of the unprecedented access the feature was given to the Palace of Versailles. She utilizes the awe-inspiring splendor of the location through opulent set pieces, colors, and atmospheric outdoor surroundings.

In honor of Marie Antoinette's eerily ironic last words: "Monsieur, I ask your pardon. I did not do it on purpose," Sofia Coppola's newest motion picture is for those yearning a lavish dream about a lost youth, who became something of a scapegoat for the tumultuous events that occurred around her.

A bunch of people have said that Wimbledon was 'too predictable.' Well, it's a romantic comedy. Of course it's predictable: boy meets girl, they fall in love, trouble pursues, they get together in the end.

The point of seeing a love story is to see HOW all this happens. Wimbledon does a great job coming up with an original plot (love and tennis) while presenting the story in a way that draws in the audience. You really care about the characters. Kirsten Dunst, especially, creates a wonderful portrayal of Lizzie Bradbury. Lizzie is a very bold, driven, somewhat selfish character, but Dunst makes her lovable. And Bettany (Peter) plays off Dunst's performance incredibly well.

I love this movie. It's incredibly sweet, and funny without the groaning and eye-rolling junk. It is an amazingly well-directed, well-casted, and all around well-done movie that immediately made it to the top of my favorites list.

I really loved this movie alot and couldn't wait to get the soundtrack! I am obsessed with Vitamin C who is in the movie and does a few numbers including the opening dance sequence "Love Will Keep Us Together" - which by the way is her lip syncing to Captain & Tennille, not her own voice - and a super sweet duet with Sisqo called September where she does use her own voice. I was extremely dissapointed to find out when I bought the cd that September is not on it. I hope it will be on Sisqo's new cd, because it ain't on Vitamin C's..... anyway, after that let down I listened to the cd a couple times and looooooved it!!! I like every song on there. My favorites are: "Get With Me" by Shorty 101, "Sho' Nuff" by Fatboy Slim, "Perfect World" by Mikaila, "Alison" by Elvis Costello and The Attractions, "The Shining" by Badly Drawn Boy <------thats my favorite song, "Love Will Keep Us Together" by Captain & Tennille and "Dream Of Me" by the gifted actress Kirsten Dunst. All of the other songs on the cd are pretty awesome and up beat too - just like the movie. Trust me, after seeing this film, the first thing you're gonna wanna do is pick up this soundtrack; just don't expect to hear from Vitamin C or Sisqo. And not hearing them is the only reason this got 4 stars instead of 5. This is a wonderful cd to own though. And don't fret over September not being on the soundtrack, you'll GET OVER IT......

Having seen the previews during a lazy summer, I figured it would be fun to take my girlfriend and her little sister to a cute little movie spoofing beauty padgeants. Never in my life have I laughed so hard in the theater. I could barely stay in my seat. The twisted, dark comedy was absolutely unexpected, ruthless, undaunting and hilarious. For those of you who are familiar with the state, the Minnesota jokes are right-on-target. The mentally-challenged mocking was tasteless, crude and offensive, but all those of us who saw it know it was funnier than hell. Any of you who have a taste for black comedy and don't take life too seriously should see this movie. I promise you will be pleasently surprised.

If you're old enough to remember the TV landscape from about a dozen years ago, you'll remember that the airwaves were littered every week with crime stories "inspired by" or "based on" true events. This entertaining, yet exploitative, sub-genre straddling the line between thriller and docu-drama has since been shifted to cable TV for the most part and, generally, the quality of this type of film has been marred by an unnecessary camp factor. I mention this in preface to talking about the fascinating feature "All Good Things," a film by award winning documentarian Andrew Jarecki, not as a negative association--but as an incredibly positive note. "All Good Things" employs everything that has been overdone about this genre, and despite the familiarity in story telling, stands as a richly intriguing and superbly acted drama. In truth, I loved "All Good Things!"

Based on a real New York missing person's case involving a wealthy and powerful real estate family, "All Good Things" introduces us to the Marks clan. Ryan Gosling plays David Marks who has little interest or patience with the family business. Meeting a young woman, Kirsten Dunst, completely removed from the society set he's been raised in--he sees her as a possible escape. But happiness is fleeting for the couple as Gosling is eventually brought back to deal with the seedier elements in his father's empire. The couple's relationship becomes increasingly strained until Dunst disappears. Investigated, yet unsolved, what happens remains a mystery until an ambitious District Attorney 18 years later decides to pursue matters further. That's when things start to get really strange!

Of course, when you've got master actors at the top of their game--that certainly brings a welcome gravitas to the proceedings. I have, for many years, declared Ryan Gosling perhaps the best actor of his generation. Ever since he burst onto the film scene in the controversial "The Believer," Gosling has eschewed being a mainstream "star." Heck, after "The Notebook," another actor might have taken a very different career path. But Gosling, despite a couple of disappointing forays into big budget Hollywood, has remained true to his indie roots. In "All Good Things," Gosling is riveting--a socially awkward powder keg, he is strangely likable AND dangerously unhinged. It's a great, fully rounded performance. Kirsten Dunst, as his wife, hasn't been this good in years. An intriguing blend of strength and vulnerability, she becomes the heart and soul of "All Good Things." And the terrific Frank Langella is mesmerizing, and filled with oily menace, as Gosling's father.

The film is also great-looking, with its use of shadow and darkness. The score is fantastic as well--so haunting. The first two-thirds of "All Good Things" are absolutely flawless. The pairing of Dunst and Gosling and their story together is as polished and entertaining as anything you're likely to see this year. However, when the film fast forward--it does suffer by comparison. This is where the story becomes utterly bizarre. I still loved it and it is undeniably fascinating, but it lacks the dramatic tension that had so distinguished the earlier sections. All in all, though, this is sophisticated adult entertainment and highly recommended. About 4 1/2 stars. KGHarris, 11/10.