.IMlkiea4w, 4S ebzutip 4S litirc-pki - Y Ilri4w4;o'lw6A' Theron's Monster performance Oscar-worthy Patty Jenkins' Monster is the best film of 2003. It may seem premature to make such a statement considering I've yet to see, Errol Morris' The Fog of War and the final installment of the "Lord of the Bore" trilogy, "The Return of the Geeks", but I feel there won't be another film that can match the power, the introspection, and the downright ferocity of Monster. In a year where "performance" outweighed "story" by about 200 pounds, and "story" outweighed "structure" by infinity, Patty Jenkins evens the scales creating a film that clicks on all levels. It's the story of America's first "high-profile - female serial killer (a statement which is actually debatable), Aileen Wuornos. She was a prostitute who murdered seven men, some under grisly circumstances, and was executed by the state of Florida in 2002 after spending ten years on death cow. Wuornos' case has been told and retold for years by A&E biographies, made for TV movies, and two documentaries by acclaimed filmmak er Nick Broomfield, but Mousier seems to be the tale that should finally put the case to rest. The highlight of the film is Charlize Theron, the most feminine of feminine actors (or so 1 thought), who transforms to the point where she is completely unrecognizable. I'm reminded of Willem DaFoe in Shadow of the Vianpire, but it's not really the makeup that sells the performance. It's attitude. She walks like a truck driver and talks like Willie Nelson. Her performance is nothing less than outstanding, and she should be remem bered come Oscar time. As great as Theron is in the film, I believe she has over shadowed, at least in the press, the performance by Christina Ricci who plays Wuornos' lesbian lover. Monster marks Ricci's hest performance to date. In a film with such high emotions and difficult situa tions, the two compliment one another perfectly and provide a deeper understanding of Ben Harper's, Diomondy On The Inside, is a CI) that must be owned by all: well except those obsessed with the tcena;:x pop MOSie, or those who are inspired by the lyrics of Snoop T) 0 double G. But for everyone else, this album will sure turn Your ('I) collection from a mere B- to, I'd say about an A. With songs like With My Own Two hion(A. and fiiinnontts On The Invide. individual can get into the mellow groove of Harper's semi ivTg;wiseliii-lock style. And for those who are not in the mood to chill, then just turn to track numbet 7 and The Funk. And Harper has not forgotten all you religious inspired music listeners because Whet/ S7/,' Belici c's. and Picture (// will surely do you just. rite »,n ,it , ,mt this ;ithtnn js that Fiarpci tiocN not ovc°riloss hi,s listeners with too much reggae. It's not thrown in our faces, but there is a hint of it behind his soft and strain sounding voice. Track number 2, When It's Good, is a perfect example. The only thine I didn't like about this album was the introduction to When She Believes. It sounds almost carnival like and the first sentence is really cheesy. "The Good Lord is such a good lord, with a v.. I (.1 f 3, Ages Album Ti LAkbf j?EIEASE DATE: iCENRE: OVERAII RATING: By MATT MOSLEY Film Reviewer SEE DEE! REVIEWS B 1 N t lARpf rz DIAIVIONdS ON 1/11 INSidL Vi RCA N RUC:ORCIS MARCH 7 , 200 3 IMEEMI3 WPS H Thoe Froecictcor Ratclic, Cltab► ('MAUI y good mother too. - But I can let that slide because the rest of the album is simply mind blowing. Ben Harper's Diamonds On The Inside is a great reminder that the world has not gotten lost in the pop/punk world, and it's refreshing to know that great artists are still wandering this planet. Rock who Wuornos actually was. Technically, Wuornos was a serial killer. A seri al killer, as defined by scholars and the FBI, is a person who kills three or more people with a cool ing off period between each incident. The differ ence between Wuornos and most killers lies in her motive. Most killers murder because of compul sion, whether it be sexual, in the case of Ted Bundy, or power and game playing, like David Berkowitz. Wuornos' case is unique, and that is what makes Monster transcend the category of "performance piece." The film portrays Wuornos as a person strug gling to survive, both physically and mentally. The relationship between Theron and Ricci seems to be the catalyst. The film is a love story at heart. We see Wuornos' as someone who will do any thing to retain the love she had finally found after many years of dead emotions from her hard-liv ing, tough existence. The film does not make excuses, but rather puts the viewer into a mode of understanding. Wuornos has to make choices, the cornerstone of any screenplay, and it's the choices she makes that decide her fate. Jenkins' paints Wuornos as being someone who didn't kill by compulsion, but as a lost soul killing for revenge, financial stability, and most of all to prevent emotional death. Whether all of that is true or just a liberal slant, I'm not really sure, but it does make for one hell of a movie. Flit Kt I loRRI1)11 * ARd WOR IL. Ar 11, DO 4. 1 . 120bAbly Bu puNdous ** Charlize Theron playing a serial-killer role in the new movie "Monster."
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