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"WEEKEND STAR" FRIDAY, JULY 20, 2001 - 9 A tension-filled recreation of a global crisis SCREENING Holo] (BN BN BN BN BN J By John Foote THIRTEEN DAYS (Pete) THE FAMILY MAN | + (x) Available on video/DVD Perhaps the closest we have ever come to a'third world war was in October of 1962, when Soviet weapons were discovered in Cuba, and President John F. Kennedy aggressively campaigned against this hap- pening. Still a young President, in office for just two years at the time, Kennedy faced the toughest decisions of his career, facing down a Communist nation in what would be an active part of the Cold War. For 13 long days, -Kennedy and his staff battled back and forth with the Russian leaders until an outcome that was satisfactory came about. The war of words displayed Kennedy's met- tle, because in order to protect the American people, this young man was pre- pared to go to war with Russia. Thirteen Days is an extraordinary, tense and taut film that deals with politics on the world stage. If you are not educated in the Cuban Missile Crisis, this is a textbook study of what happened and how, and if you are aware of what happened, it is thrilling to watch the cast deliver the goods in their performances. Though Kevin Costner is by far the biggest name in the cast, his is not the per- formance that grabs you. Costner does an admirable job as Special Assistant to the President Kenneth P. O'Donnell. It is through O'Donnell's eyes that we see the story unfold, and Costner seems willing to take a backseat to the white hot perfor- mances of the lesser known cast. Canadian Bruce Greenwood delivers an uncanny, brilliant performance as John FE Kennedy, capturing his arrogance and fear at the same time, bringing to light an under- standing that in this man's hands lie the futures of millions. The awesome responsi- bility of being the President of the United States is depicted in every frame of the film, and Greenwood gives something greater than a performance, he inhabits the role, losing himself into the character of Kennedy. Though he does not necessarily look like Kennedy, he does what Anthony Hopkins did so well as Richard Nixon, he captures his soul. Perhaps knowing as we do, that in 1962 Kennedy was in the last year of his life, adds a sense of tragedy to the performance that Greenwood quietly plays upon. This is with- out question the finest characterization of John F. Kennedy ever created for the screen. Best known for his performances in pop- ular hits such as Rules of Engagement (2000), Double Jeopardy (1999) and best of all as the anguished father in The Sweet Hereafter (1997), Greenwood has carved out a strong reputation in Hollywood as an actor's actor. For his performance in Thirteen Days, there was much talk of an Oscar nomination for best supporting actor, something that was richly deserved, but never materialized. Equally good is Steven Culp as Bobby Kennedy, bringing to the role the right amount of ruthlessness and intelligence. Known to be nastier than his older brother, Bobby had enemies in the White House, and in this performance it is easy to see why. Edgy, outspoken and suspicious, Culp creates the Bobby Kennedy behind the good looks and smile, who was feared in the United States in the early 60s. Costner anchors the film with a solid, - subtle performance that runs the risk of being ridiculous. Using a Boston accent that becomes annoying, he almost does not get away with it. The strength of the film is that the others are so fine, Costner's accent is forgiven and becomes a small quibble. Director Roger Donaldson has explored political intrigue before in his superb thriller No Way Out (1987) which starred Costner and Gene Hackman. He is an intel- ligent director, able, to bring suspense to moments in history where we know what happened. Thirteen Days reminded me a great deal of Ron Howard's magnificent achievement with Apollo 13 (1995); itis a historical event where we know the out- come, but damned if the film makers do not pull out all the stops in making a dynamite thriller. Thirteen Days is-just that, and well worth a viewing. THE FAMILY MAN Suppose you're a'rich hot shot and one night you go to sleep, only to wake up in suburbia with a family you are not aware you had, and an income less than what you are used to? Nothing around you is yours, but you know you are being given a second chance at something that passed you by. That is the problem facing Nicolas Cage in The Family Man, which plays like a poor man's It's A Wonderful Life (1946). A corporate shark who has it all, except happiness and a family, Cage is given the chance to have what he passed up years ago after leaving his-love, played by Tea Leoni. What could work nicely becomes predictable and sentimental in an unbear- able kind of way as Cage uses his hang dog looks to create a character, rather than his gifts as an actor. He is slumming here, obvi- ously doing this film to fulfill a contract, because that spark that i is usually in his act- ing is not there. This is the same man who electrified audiences as the doomed drunk in Leaving Las Vegas (1995), winning every acting award available for his efforts. After that performance, one would expect Cage to take :his place among the greats with a series of brilliant performances, but not so. He moved into the action genre with Con Air (1997), The Rock (1996) and the superb Face-Off (1997), all fine films but hardly the kind of art we had expected from him. The Family Man is not a bad film, just way too familiar. You can practically predict the lines coming out of the actors' mouths before they are said, and you just know that corporate shark Cage will see the mistake ° he made and rectify it. Again, this is not a | bad film, just a highly unnecessary one. } ¥ MISSISSAUGAS OF SCUGOG ISLAND FIRST NATION is pleased to announce the opening of its new Health Resource Centre on beautiful Scugog Island. Come and visit our Library and Resource area. We also have a 300 person capacity gymnasium, with stage, complete with kitchen and bar facilities, which is available for your Special Event Rental. HALL FEATURES e Floor Space: 50 x 120 feet e 35 ft. ceilings e adjustable lighting ® stage e state-of-the-art kitchen, dishes available * 40 round banquet tables e 300 padded chairs e equipped bar facilities e serving hatch to hall from kitchen and bar e ample parking For bookings and information: Call Anne Harmsworth 905-985-1826 or fax: 905-985-7958 July 27. 28 - : Saturday, July 28+h Sans Jovaon" wm concevt With "Peacock" and "Electrashine" Tickets $10 at the Gate Gates open 7 pm. (bring a lawnchair) Sunday, July 29h Marin Stveet Cow Show Friday, aT 274 "'Chavlie Mejor" Wm concevt Also appearing... "Donny Anderson and Thunder Run" and "Jaclyn and Cassandra" Tickets $10 - Available at the Gate Gates open 7 pm. (bring a lawnchair) \ " Vom om Track WovlA Show & Shine 8 am. - 4 pm. Downtown Lindsay Free Admission for spectators! Call for more info Saturday, July 28H 11 am. - 5 pm. (Shaft Park) Call for info: 705-324-8472 705-324-5544 wwlindsayevents.com