After a tragic car accident that kills his wife, a man discovers he can communicate with the dead to con people. However, when a demonic spirit appears, he may be the only one who can stop it from killing the living and the dead.
Michael J. Fox,
Based on the true story of Juliet Hulme and Pauline Parker, two close friends who share a love of fantasy and literature, who conspire to kill Pauline's mother when she tries to end the girls' intense and obsessive relationship. Written by
Alexander Lum <email@example.com>
Juliet Hulme was revealed to be mystery writer Anne Perry who came forward and revealed her real identity in 1994 during the making of the film, but all attempts to find Pauline Parker failed. In 1997, Pauline Parker was finally traced to a rundown cottage on a farm near Strood, Kent, England, where she currently runs a children's riding school. Since assuming the name of Hilary Nathan, she has become a devout Catholic and devoted her life to handicapped children. See more »
[Director Peter Jackson opens with the scene that should, logically, end the film: that is, the moments immediately following the murder. The girls Juliet and Pauline run screaming up the hill-path to the tea-house, sobbing and covered in blood. The scene is intercut with b&w visions of the two running across a ship deck to meet Dr. and Mrs. Hulme, whom they both refer to as their mother, as the first three exclamations of "Mummy!" demonstrate]
[...] See more »
Preceding the end credits: "In the hours following Honora's murder, a police search of the Rieper house unearthed Pauline's diaries. This resulted in her immediate arrest for the murder of her mother. Juliet was arrested and charged with murder the following day. After Pauline's arrest it was discovered that Honora and Herbert Rieper had never married. Pauline was therefore charged under her mother's maiden name of Parker. In August 1954, a plea of insanity was rejected by the jury in the Christchurch Supreme Court trial, and Pauline Parker and Juliet Hulme were found guilty of murder. Too young for the death penalty, they were sent to separate prisons to be 'Detained at Her Majesty's Pleasure.' Juliet was released in November, 1959 and immediately left New Zealand to join her mother overseas. Pauline was released two weeks later but remained in New Zealand on parole until 1965. It was a condition of their release that they never meet again." See more »
I understand why teenage girls would like this movie--the thrilling rush of new found deep friendship tied together with nascent sexuality and all that comes with it...the defying of the confines of the world around them...the incredible power of unfettered creativity and self-delusional belief...
What's amazing is that a jaded thirty-something man like myself would consider it to be his favorite film of all time. Peter Jackson shows a deftness in handling interpersonal characterizations and blending in amazing special effects in a way that seems so natural...so fluid...that you while you're awed by what you see, you're not so aware of the process that you're distracted. The oh-so-1993 effect of "morphing" is used better here than any other film (save, perhaps, Terminator 2--but in that movie, the morphing WAS the film...when here, it is merely one element.)
The direction is exemplary. The cinematography is awe inspiring. The script is sharp. The acting...down the line...is superb. Melanie Lynskey delivers a brave performance--giddy, childish, frightening, sexual, clouded... She's everything Christina Ricci pretends to be. Kate Winslet--hyper-bright and wonderful...her performance here reminds you that her "Titanic" performance was "sunk" (sorry!) by the extremely poor dialogue she was given. Her character's overly cheerful demeanor is a mask that covers her disappointment in her parents--but it's extended so far that it no longer seems like a mask...it seems to be a force of nature that drags Lynskey's Pauline along for a dangerous ride...a ride that Winslet's Juliet is in no position to control. There are crisp performances from all of the supporting cast as well.
Jackson should be listed with Gilliam and even Lynch when it comes to directors who can achieve a glorious, if dark, vision. The fact that Jackson's movies (save for "Meet the Feebles") are mainstream accessible--in ways that Lynch, especially, could barely consider (although "The Frighteners" was painfully overlooked by the US market)--makes me wish that he'd try his hand at more mainstream material.
Imagine what a Peter Jackson "Titanic" would have been like...and compare that to what a James Cameron "Heavenly Creatures" would have been like and you get my point.
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