Apparel : Search

Cast Away is a good movie that wants to be much better. While director Robert Zemeckis's earlier film Contact achieved a kind of mainstream spiritual significance, Cast Away falls just short of that goal. That may explain why the film's most emotionally powerful scene involves the loss of an inanimate object, even as it presents a heart-rending dilemma in its very human final act.

It's three movies in one, beginning when punctuality-obsessed Federal Express systems engineer Chuck Noland (Tom Hanks) departs on Christmas Eve to escort an ill-fated flight of FedEx packages. Following a mid-Pacific plane crash, movie number two chronicles Chuck's four-year survival on a remote island, totally alone save for a Wilson volleyball (aptly named "Wilson") that becomes Chuck's closest "friend." Movie number three leads up to Chuck's rescue and an awkward encounter with his ex-girlfriend Kelly (Helen Hunt, in a thankless role), for whom Chuck has seemingly risen from the grave.

It's fascinating to witness Chuck's emerging survival skills, and Hanks's remarkable physical transformation is matched by his finely tuned performance. With slow, rhythmic camera moves and brilliant use of sound, Zemeckis wisely avoids the postcard prettiness of The Black Stallion and The Blue Lagoon to emphasize the harshness of Chuck's ascetic solitude, and this stylistic restraint allows Cast Away to resonate more than one might expect. Even the final scene--which feels like a crowd-pleasing compromise--offers hope without shoving it down our throats. You may not feel the emotional rush that you're meant to feel, but Cast Away remains a respectable effort. --Jeff Shannon

Cast Away is a good movie that wants to be much better. While director Robert Zemeckis's earlier film Contact achieved a kind of mainstream spiritual significance, Cast Away falls just short of that goal. That may explain why the film's most emotionally powerful scene involves the loss of an inanimate object, even as it presents a heart-rending dilemma in its very human final act.

It's three movies in one, beginning when punctuality-obsessed Federal Express systems engineer Chuck Noland (Tom Hanks) departs on Christmas Eve to escort an ill-fated flight of FedEx packages. Following a mid-Pacific plane crash, movie number two chronicles Chuck's four-year survival on a remote island, totally alone save for a Wilson volleyball (aptly named "Wilson") that becomes Chuck's closest "friend." Movie number three leads up to Chuck's rescue and an awkward encounter with his ex-girlfriend Kelly (Helen Hunt, in a thankless role), for whom Chuck has seemingly risen from the grave.

It's fascinating to witness Chuck's emerging survival skills, and Hanks's remarkable physical transformation is matched by his finely tuned performance. With slow, rhythmic camera moves and brilliant use of sound, Zemeckis wisely avoids the postcard prettiness of The Black Stallion and The Blue Lagoon to emphasize the harshness of Chuck's ascetic solitude, and this stylistic restraint allows Cast Away to resonate more than one might expect. Even the final scene--which feels like a crowd-pleasing compromise--offers hope without shoving it down our throats. You may not feel the emotional rush that you're meant to feel, but Cast Away remains a respectable effort. --Jeff Shannon

The dramatic and chilling story of an Ebola virus outbreak in a surburban Washington, D.C. laboratory, with descriptions of frightening historical epidemics of rare and lethal viruses. More hair-raising than anything Hollywood could think of, because it's all true.

Barry Sears looks at why Americans still have dietary problems in spite of following the advice of experts. Challenging the current recommendations for a high carbohydrate diet, Sears looks into man's history as well as the diets athletes succeed best on, to build a new dietary picture. Anyone looking for better health through an improved relationship to what they eat should put this book on their list.

Apparently there's nothing in Kabbalah that disallows sweaty, head-spinningly good dance music, because here comes a flame-haired Madonna hawking a dozen songs' worth: Confessions on a Dance Floor darts seamlessly from Madge's early days, when she emerged as the genre's enduring darling, through the political, kiddie, and acoustic pap that drove a wedge between her and early adopters of the fingerless glove look. Songs like the pop-leaning "Jump" and first single "Hung Up"--an adrenaline drip on high that, like many of these tracks, will inspire mild shame among those who've thrilled to the much thinner disco-dusted outpourings of younger divas recently--represent both a return to form and an unmistakable march into the future. "Get Together" is a sonic freak-out in the best sense; "Push" traffics in gut-level futuristic trance; and "Forbidden Love" loops in '80s blips and bleeps for a follow-me-into-the-past effect that's both neo and retro. For all the image-affirming innovations here, though, these confessions find Madonna framed in her share of reflective moments too. "Was it all worth it/How did I earn it?" she asks on "How High," a song featuring vocoder. "Nobody's perfect/I guess I deserve it," comes the answer. A later lyrical inquiry is left for the listener to judge: "Does this get any better?" Madonna wants to know. But that opens the door to a dizzying proposition. Few of us would have guessed, after all, that it got this good. --Tammy La Gorce