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ANGEL
EYES
review by CJ Henderson
Was it just lucky that put Catch where he could save Pogue's life? Was he just a concerned citizen--was it just a stroke of fate? Or was it more? Has he been following her? If so, why?
Pogue is, of course, grateful, but as a relationship begins to blossom
between Catch and her, questions begin to flood her cop's brain.
Why does he live in an apartment with only a mattress to sleep on?
Why does he keep drawers full of toys in his kitchen? Why won't
he talk about his past, or what he does? Why does he flinch at certain
questions? Why does he stare at children--especially small boys?
REVIEW: Well, here's another one of those films that's really hard to review. Why, you ask once more. I'll explain. Unlike the simplistic, plot-less, cotton candy of "The Mummy Returns," Warner Brothers' latest, ANGEL EYES, is not stupid. It is intriguing, well paced, suspenseful, sometimes even amusing, and often quite gripping. Wherein lies all the difficulty, you wonder. The problem lies in commenting in detail. The film is being presented in its trailers and television ads as some sort of supernatural story. Fantasy elements are hinted at which just aren't there. If you were thinking of seeing this one because you're really into tales of witchcraft, et cetera, this one is not for you. ANGEL EYES is a straightforward, no-nonsense, old-fashioned story -- the kind of film they don't make anymore. The problem is, however, to tell you too much about the plot would ruin the effect of the story. What I can tell you is that even without the fantasy there is plenty going. There are a number of extremely clever touches in this quiet little film. A great deal of misdirection keeps the story moving. The audience learns more about each character and discovers that both Catch and Pogue are hiding things -- but interestingly enough, both are hiding things more from themselves than from each other. Lopez and Caviezel both do a wonderful job. Each has a similar pattern in the films they made, starring in smaller films, bringing forth a string of good, solid performances in somewhat secondary films ("Money Train" and "U-Turn" for her, "The Thin Red Line" and "Madison" for him), and even starring in critically acclaimed sci-fi movies ("Frequency" for him, "The Cell" for her). Casting them together was a good move. The two have the look of real people. Ms. Lopez has those good-looking girl-next-door looks. She isn't super-tall, super-thin or super breasted. But, she has a killer smile and she knows how to act. She also holds the smile back for all both the most appropriate moments, relying on her formidable talent, instead.
Caviezel also gives an impressive performance, playing a far different
character than he has in the past and doing so with ease. He is
by turns charming and frightening--not in the over-the-top, fright
shtick of
Before I say too much, I'll rein myself in. Suffice it to say that
this is an intelligent story about two bruised people trying to
find their individual ways. It is well made and well told and actually
worth a few of your hard earned dollars. OFFICIAL
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SYNOPSIS:
At the scene of a terrible automobile accident Officer Sharon Pogue
(Jennifer Lopez) is one of the first to arrive. We are lead to believe
that she keeps one of the crash victims alive through force of will
by talking to them until more help arrives. We are never shown whom
she talked to or what happened to them. The words "one year later"
flash on the screen and we see Pogue once more. She is still an
officer, still working the tough streets of Chicago. While pursuing
an armed and dangerous suspect one night she is caught in a deadly
ambush. She is down and unarmed a split second from death when a
stranger, Catch (Jim Caviezel) intervenes. He jumps her attacker
and holds him off until more officers can arrive and save both him
and Pogue.