No--I didn't forget to write this CineVegas report. It's just taken a little longer than I expected to slap it together because of constant movie screenings and other such business. At any rate, enjoy. I do believe there will be one more following this one. On a final note, I want everyone to know that I am a fan of director Julian Schnabel (I thought Before Night Falls was an amazing film), but before I'm finished with this you may see the man in a bit of an unflattering light.

RIDING GIANTS (PG-13)
Starring Laird Hamilton, Darrick Doermer, Greg Noll, Buzzy Kerbox
Released by Sony Pictures Classics

Riding Giants is a breathtaking documentary that showcases the origins of surfing. Even though I grew up in L.A. and hit the beach plenty in my youth, I knew very little about this particular scene. I wasn't exactly the surfing type, but after watching this outstanding, funny, informative and thrilling film, I wish I had been.

Riding Giants traces the early beginnings of the surfing movement and tracks it all the way to present day by way of amazing archival footage and interviews with surfers then and now.

The film was directed by Stacy Peralta (who also made the fantastic Dogtown and Z-Boys), and like his last picture, he's assembled some truly remarkable footage. The surfing imagery in this picture took my breath away. This is truly exhilirating stuff.

Equally fascinating are the men and women who lived the surfing lifestyle. Each surfer--as presented in the film--has a charismatic and charming way about them that's wonderfully infectious. In particular, I really loved listening to Greg Noll's stories. Seriously, I'd love to hang out in a bar and talk to this guy for hours.

As Peralta so diligently displayed in Dogtown and Z-Boys, the surfing scene wasn't merely a sport or a hobby, it really was a way of life for many people. These surfers ate, drank, slept, lived and loved for those bumps in the oceans. Surfing was perhaps the original extreme sport and Riding Giants takes us to the cutting edge of how some of it's bravest pioneers continue to push it's envelope.

The movie succeeds not only as a documentary about how the practice of surfing evolved into such a pervasive cultural influence, but as a poetic depiction of why this desire to catch the perfect wave remains such a compelling passion for so many.

Grade: A-

THE NIGHT WE CALLED IT A DAY
Starring Dennis Hopper, Joel Edgerton, Rose Byrne, and Melanie Griffith

The Night We Called It a Day is a fun little Australian flick that benefits greatly from some very charismatic performances.

Based on a true story, this film recalls a disastrous Frank Sinatra (a magnetic Dennis Hopper) tour that took place in Australia circa 1974. After finally persuading Sinatra and his crew to do a mini tour in Austrailia, small time concert promoter Rod Blue (an engaging Joel Edgerton) must find a way to difuse a horrible situation after Old Blue Eyes verbally abuses a snotty reporter immediately after landing in the land down under. Before long, the locals wage a sort of war against Sinatra, demanding an apology for his off-the-cuff little stab at their fellow countryman, but Frank being the Chairman of the Board, doesn't do apologies, Frank does ballads, if Frank gets paid well to do Ballads.

The Night We Called it a Day is extremely light on it's feet and very lighthearted in it's execution. It isn't meant to be taken as the ultimate bio-pic, nor is it particularly dramatic. If anything it's played as a fluffy good time with romantic comedy underpinings.

Joel Edgerton (who you may remember as Owen Lars in the last two Star Wars films) is terrifically entertaining as the smooth talking Blue, and I really enjoyed his sweet little moments with love interest Audrey Appleby (played by the cute Rose Byrne). Yes, we've seen similar such romantic scenarios in countless other movies, but it was touching nonetheless.

When I heard that Dennis Hopper was playing Sinatra, I have to admit,I couldn't see that at all. Don't get me wrong, the guy's a tremendous actor, Frank "Booth" yes - Frank Sinatra? It was hard for me to envision that working. Happily, it does. Hopper burns up the screen. While he certainly doesn't bear a strong facial resemblance to old blue eyes, he does bring to life his mannerisms and overall spirit. Not unlike the way Anthony Hopkins managed to so effectively embody "Tricky Dick" in Oliver Stone's "Nixon." He's charismatic and very playful in the role, particulalrly in the scenes when he becomes angry and wants to test the extent of his power. Of course, as enraged as he might become, he always plays Frank as an old softy at heart. And his scenes with a very good Melanie Griffith are among my favorite moments of the film.

Finally, we have the music. Ahhh--the music. I know plenty of people who--dare I say this--can't stand Sinatra. They're dead wrong - he's without a doubt among the very, very finest song-stylists to ever set foot behind a microphone. And Hopper does a terrific job of getting this point across in his live performance scenes.

The Night We Called it a Day is a fun little flick. In all honesty I have to say it was a picture that would probably play better as a TV movie, I had a good time for the most part.

Grade: B-

SHE'S SO LOVELY (R)
Starring Robin Wrigh Penn, Sean Penn, and John Travolta
Released by Miramax

Robin Wright Penn came to CineVegas to receive a Half Life Award (her husband received one also). The presentatation was surprisingly uneventful. Dennis Hopper spoke for a few moments about the actress, and then handed the microphone to a hyper Julien Schnabel (director of Before Night Falls). Schnabel then proceeded to kiss Robin's ass, and while the end result was supposed to be endearing, it was anything but. In fact, it was downwright embarrasing. He got up there and said things like, "Robin was the best thing in Forrest Gump, and she didn't even get recognition for it." I understand what Schnabel was trying to do, but in my eyes he failed miserably. It was just ridiculous. To make matters worse, Ms. Penn wouldn't answer questions nor did she thank the audience for attending. Maybe she's one of those shy types. If that is the case, it's fine I suppose, but I can tell you that attendees weren't happy about it. It was awkward and made everyone feel uneasy and following the screening there was a good bit of unfavorable murmuring.

As far as the movie, it is merely decent. I've never been a big fan of Nick Cassavetes (son of John). I thought John Q was just atrocious. She's So Lovely (released in 1997) has a lot to admire, but the second half of the picture just kind of falls apart, despite strong performances by a spectacular Robin Wright Penn, a crazy Sean Penn, and a wonderfully entertaining John Travolta.

The movie features a drugged-out Maureen (Robin Wright Penn) and her nutty soul mate Eddie (Sean Penn). After a terrible shooting puts Eddie behind bars for several years, Maureen cleans up her life and starts anew with Joey (John Travolta). Years later, Eddie is released and sets out to win his woman back.

I really love the first half of this picture. The Penn's are dynamite and generate real chemistry. While their characters live dysfunctional lives, I never doubted their love for one another. Cassavetes (working from a story originally written by his father) trusts his actors and lets them do their thing. He also perfectly captures the sights and sounds of the film's slummy city setting. And how about the casting. What a stroke of genius to cast Burt Young and Talia Shire as a couple. Just hilarious.

But then that second half comes into play. Once Penn is released, I just sort of lost interest in the movie. I love Travolta in this picture. He's funny and natural as the man who helps Maureen re-build her life, but I just never bought into the direction this movie takes. I could have dealt with the ugliness and selfishness of a major's character's decision by the end of the movie, had it felt genuine. I just didn't believe it. Some have deemed the ending of She's So Lovely brutaly honest. I didn't see that at all.

Sean Penn is so effective in the first half of this picture, but then his performance becomes wildly inconsistent. His wild personality and mood swings, (whatever they were supposed to be) just sort of come in and out of focus. He's a strong actor--one of our very best--but as was the case in I Am Sam, his turn here is uneven.

She's So Lovely certainly has it's moments, but overall, it isn't that memorable, and again, I say this because I was so disenchanted by the second half of the picture. I just didn't like it. Still, it's far better than John Q. If you want to see Cassevetes' best work though, check out "The Notebook." Sure, it might be sticky sweet, but it's the most emotionally rich film he's done, not to mention his most consistent.

Grade: C+

INDIAN RUNNER (R)
Starring David Morse, Viggo Mortensen, Valerie Golino, Patricia Arquette and Charles Bronson
Released by MGM/UA

After watching Robin Wright Penn accept her Half Life Award (sort of), it was off to watch husband Sean collect the same honor. Mr. Penn stepped to the microphone to introduce his directorial debut "Indian Runner" (released in 1991), and announced that he would do a Q & A following the film.

Indian Runner is an astonishing achievement. I had seen it once before seven or eight years ago, but had forgotten how truly remarkable it is.

The film (which takes it's title from the Bruce Springsteen song of the same name) takes place in a sleepy little town, and features David Morse as Joe Roberts, a working class police officer who's become emotionally rattled following a crime-bust gone horribly amiss. He is a good man, to be sure, but has a tough time coping with with the incident.

Shortly thereafter, Joe's brother Frank (a riveting Viggo Mortensen) returns from the military, but rather than staying, he leaves to start a new life. Soon, he begins dating an eccentric young woman (Patricia Arquette), and begins slipping into nasty old habits.

Joe, being the stand up guy he is, makes an earnest attempt at helping his brother with severe emotional problems, but this proves to be no easy task.

Indian Runner is considered by many to be one of the all time great directing debuts by an actor, and upon watching it, it's easy to see why. This film is emotional, powerful and quietly devastating, and Penn's observant and intimate attention to character-detail is truly something to behold. Watching this picture is a lot like watching somebody's real life unfold before your very eyes.

David Morse is subtle and incredibly strong in the lead. This is a restrained turn of enormous power and beauty. Morse doesn't even have to speak to convey what he's feeling most of the time. You can just see it in his eyes.

And how about Viggo Mortensen? Wow! This is a brave, intense performance. His Frank isn't always the nicest of guys but not once did I hate him. His sympathetic portrayal of this scarred individual was certainly one of the best performances of the year and showed what this talented actor is capable of. In fact, I would go so far as to say this is his strongest work (this coming from a huge Lord of the Rings fan).

Morse and Mortensen generate genuine chemistry and by the time you finish watching this picture, you'll swear they're real brothers.
And watch for a heartbreaking turn from Charles Bronson.

Sean Penn directs with the same kind of intensity that he acts with. While the movie works spectacularly as a whole, it is the tiny nuances that make Indian Runner so unforgettable. And Penn refuses to let the movie slip into the realm of melodrama or sentimentality. This movie is painfully real and punctuated by a tough ending.

With it's unflinching look at real life violence (as oppose to the silly, gratuitous action movie kind), and it's take on striving to obtain the American dream, I'm really surprised that this picture hasn't emerged as an American classic. It was certainly one of the best movies of 1991, and in all honesty, I may have slipped when I didn't include it on my best-of the 90's list. It's that good.

Sadly, I wish I had something nice to say about the Q & A following the film. Alas, it was another self congratulatory seminar. I guess it isn't completely fair to say that. Mr. Penn wasn't patting himself on the back, but moderators Julian Schnabel, Elvis Mitchell and Dennis Hopper sure were. But then, I suppose that's what the evening was supposed to be about.

Penn wouldn't take questions from the audience, but he did engage in a lengthy discussion with Schnabel, Mitchell and Hopper regarding his career. This guy truly is a remarkable talent. Quite possibly the best actor of his generation. But listening to some of the things he said (as he chomped on ice that loudly echoed from his microphone head set) really left a bad taste in my mouth.

I'm all for actors maturing, but Good Lord!!! Do you have to lose your entire sense of humor? At one point, Penn (and I'm paraphrasing--don't take this as gospel) more or less suggested that he didn't see the point in doing a film without some kind of social relevance. WHAT!!!!!!! I admire, respect, and cherish Penn as a film maker--I really do, but seriously, he doesn't have to set out to make a profound movie every time. It's okay to laugh once in a while. I mean for the love of Pete!!! This guy was Jeff Spicoli!!! Has he lost sight of that? I thought he was very good in Mystic River and even better in 21 Grams, but perhaps it's time this Penn mellows out and does a comedy again.

And Penn couldn't get through the Q & A without taking a couple of stabs at President Bush. PREDICTABLE!!! There is a time and a place for political posturing and this was neither the time nor the place. This was a film discussion, but then since politics is of great social relevance, I guess it's only Wright.

The final straw came when director Julien Schnabel made some stupid comment about Viggo Mortensen. While discussing how phenonmenal Mortensen was in Indian Runner, Schnabel suggested that it was a shame to see him pop up in movies like...he couldn't recall the series of films Mortensen recently made. Happily, Hopper blurted out; "You mean Lord of the Rings"? Schnabel nodded in what looked to be a gesture of disgust. What a pinhead. I suppose "A Perfect Murder" was groundbreaking cinema. Why didn't you rip on that one Schnabel? I don't know - the whole "it isn't art unless it's independent" thing made me a little sick. I love independent film, but I love some Hollywood pictures as well. Not every studio picture is crap, and not every independent film is golden.

Anyway, Sean Penn is a legendary talent. He's extremely smart and a tremendous film maker. He'll probably go down in history as one of the greats. I truly believe that. I can only hope that someday he'll get his sense of humor back. Or perhaps this wasn't the real Sean Penn. I don't know. I like to think it wasn't. Oh, and in case anyone is wondering, cameras weren't allowed into the screening room. No big surprise there. Don't go sneaking in any Kryptonite when Superman is on the podium.

Grade: A (for Indian Runner)
Grade: C- (for the Q & A)
Grade: D (for director Julien Sc-- who stuck his foot in his mouth one too many times on this particular evening).