![]() The aimless spells aren't exactly helped by Lasse Hallström's trademark dry storytelling, which, like it usually is, is controlled enough to sustain, not simply a certain degree of entertainment value, but a reasonably brisk pace through and through, with moments of tender dramatic thoughtfulness, but also quiets the film down to the point of blanding things up and often settling a sense of dramatic momentum. All the layers of this film are worthy, make no mistake, but there's just way too many of them for the film to keep consistent with its structure, and yet, bloating doesn't end with the material, as filler also has its share of overblown spots that aren't draggy to the point of monotony, or even to the point of slowing down momentum all that glaringly, yet remain draggy to the point of moments of aimlessness. Wilbur Larch character struggling with personal struggles and the struggles of the orphans he cares for. Nevertheless, this interpretation of such a story gives it its all, perhaps too much so, as the film ambitiously bloats its dramatic narrative with too many characters and layers to keep up with, to the point of focal unevenness which derives from jarring alternations between the story of Tobey Maguire's Homer Wells character finding his adult life in the real world, and the story of Michael Caine's Dr. Very '90s in look, structure and overall feel, this film is formulaic enough in direction, and when it comes to the story itself, as worthy as it is, it's rarely anything all that new, being nothing short of predictable, even in concept. ![]() Yeah, "Dear John" was decent, but forget "Safe Haven", unless it's a safe haven for children, because Hallström seems to know what he's doing there, at least up to a point. Now, that isn't to say that this film isn't good, but it is to say that Hallström had taste when he dulled things down a bit, at least until that taste took a sudden drop once he ostensibly started reading Nicholas Sparks books. That Swede can make some pretty slow films, but boy, he knows how to make them good, or at least he did with something as solid as "What's Eating Gilbert Grape". Eh, to tell you the truth, I wouldn't expect all that much excitement out of a frat run by Michael Caine, because as charming as he is, and as much as he works on his American accent, he's just so British that he can sure dry a room up, even without Lasse Hallström's presence. Well, Tobey Maguire is here, so the excitement behind that frat probably fluctuates, looking at how quickly Maguire can go from subdued to all screamy and whatnot. People probably don't want to, because they don't really want to make light of an orphanage or something, and because it couldn't possibly be all that exciting of a frat house if it's themed around something as relaxing as cider or something. I would have liked more time to be spent with the characterizations, though the film has many big personalities to explore.ĭon't tell me you haven't thought of it, because I can't believe no one is joking about how much that title sounds like a generic frat house chant or something. However, I found it to be largely authentic in its execution, and often moving. Overall, one could say that Cider House Rules does flirt with melodrama. It doesn't feel manipulative, rather it feels inquisitive in its approach, and non-judgmental in its observations. Director Lasse Hallstrom fills the screen with beautiful visuals, and a strong pace. I would count this is perhaps Tobey Maguire's best performance, with excellent chemistry between him and Charlize Theron. The performances are very strong all around, each adding their own layer to the narrative. The films focus seems to be not so much on individual stories, rather the tapestry they form, and how these relationships form to create such a fantastical, yet brutal world. There are many story lines introduced, with Homer anchoring the entire story. This really sets the stage for the film, which has a bit of a vintage feel to it. It is simply brilliant, resonating deeply, and being enchanting, sad, and reminiscent. Uniquely, the best thing about Cider House Rules is the score. ![]() Set during World War II, Cider House Rules tells the story of a young man, Homer Wells, who spent his entire life in an Orphanage, seemingly groomed as the successor for the caretaker, only to embark on a journey of his own. ![]() Revisiting it 15 years after its release date, I couldn't help but be impressed by the shear ambition on screen and the resulting emotions. Orphans, a world war, lost souls, tragedy, and yet an underlying current of hope and love, Cider House Rules is a drama that has it all. ![]()
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