Joffe, Mark

The Matchmaker

A political aide hoping to garner votes for her senator travels to ireland looking for his genealogical roots and finds herself in the middle of a local matchmaking festival. Studio: Uni Dist Corp. (mca) Release Date: 01/06/2004 Starring: Janeane Garofalo Paul Hickey Run time: 97 minutes Rating: R Director: Mark Joffe

As she does in The Truth About Cats and Dogs, Janeane Garofalo proves she's a capable leading lady--beautiful, charming, self-effacing, and what used to be referred to as sharp as a tack. Garofalo plays Marcy, aide to dim Massachusetts senator McGlory (Jay O. Sanders). Denis Leary is appropriately slimy as a fellow aide. The senator and Nick dispatch Marcy to the remote (and fictitious) Irish town of Ballinagra, where she's supposed to unearth relatives to use in the senator's PR campaign. Along the way, Marcy not only encounters the eccentric locals, but finds herself in the maelstrom of the town's annual matchmaking festival. The single Marcy inadvertently catches the eye of the movie's eponymous matchmaker Dermot (a captivating Milo O'Shea). Dermot senses sparks between Marcy and the equally cynical, recently returned local boy, Sean (David O'Hara), once a successful journalist who's returned home to work on a book. The intimacies of the small town, the relationships between the locals, and the dialogue are credible and engaging. Look for beautiful cinematography and music, too. Also notable is the movie's ability to convey the feel of a foreign film while injecting humor that's both sarcastically American and yet Irish in trademark. --N.F. Mendoza

The Man Who Sued God

Cosi

Louis a young sydney amateur theater director is offered a job with a government program for mentally ill patients. One of the patients want to stage cosi fan tutte even though none of them can sing or speak italian - the language of the liberetto. Studio: Buena Vista Home Video Release Date: 01/04/2005 Starring: Ben Mendelsohn Toni Collette Rating: R

This is another one of those Cuckoo's Nest mental patient liberation stories, but with a clever "let's put on a show" twist. A group of melancholy Australian patients dares to pull off a theatrical version of Mozart's Cosi Fan Tutte. This film adaptation of Louis Nowra's play is quite absurd and quite erratic, yet quite affecting in the second half when the patients finally commit to the quixotic project. But how to relate to Mozart's 1790 opera about true love? By identifying with the theme of infidelity as a therapeutic exercise. And how do they pull of this madcap farce? By relying on their ability to pretend, of course. This is most difficult for the unimaginative and uncaring director (Mendelsohn), who finds himself in a life-imitates-art conflict with his curt girlfriend and a damaged yet flirtatious patient. However, it is the passionate patient (Otto) who won't let Cosi die who is the film's emotional center. He's a neurotic perfectionist and a delusional addict--a sad, desperate man with a dream to show the world how to love and be loved. --Bill Desowitz

The Matchmaker

As she does in The Truth About Cats and Dogs, Janeane Garofalo proves she's a capable leading lady--beautiful, charming, self-effacing, and what used to be referred to as sharp as a tack. Garofalo plays Marcy, aide to dim Massachusetts senator McGlory (Jay O. Sanders). Denis Leary is appropriately slimy as a fellow aide. The senator and Nick dispatch Marcy to the remote (and fictitious) Irish town of Ballinagra, where she's supposed to unearth relatives to use in the senator's PR campaign. Along the way, Marcy not only encounters the eccentric locals, but finds herself in the maelstrom of the town's annual matchmaking festival. The single Marcy inadvertently catches the eye of the movie's eponymous matchmaker Dermot (a captivating Milo O'Shea). Dermot senses sparks between Marcy and the equally cynical, recently returned local boy, Sean (David O'Hara), once a successful journalist who's returned home to work on a book. The intimacies of the small town, the relationships between the locals, and the dialogue are credible and engaging. Look for beautiful cinematography and music, too. Also notable is the movie's ability to convey the feel of a foreign film while injecting humor that's both sarcastically American and yet Irish in trademark. --N.F. Mendoza

Efficiency Expert

The Efficiency Expert (released in theaters as Spotswood), a warm-hearted, wacky comedy with a social conscience, takes place in Australia in the "Swinging '60s," and its character, substance, music, and design are so authentic one nearly forgets that it was made in 1991. Sir Anthony Hopkins is wonderful as Errol Wallace, the efficiency expert of the title, who devises painful belt-tightening measures for struggling companies. Wallace is hired to modernize the dotty, antiquated Ball Moccasin Factory, and he's stunned at the impossibility of the task. The cutting room resembles a workshop full of Santa's elves; the men literally dance jigs while they work. Still, Wallace takes the bull by the horns and deputizes a young man, Carey (the winning Ben Mendelsohn), to help him downsize the factory. It's like trying to disband a tribe; many of the employees have been there for 30 years; romances blossom there. Homely Wendy (Toni Colette, of Muriel's Wedding and The Sixth Sense) loves Ben, but he lusts after tarty Cheryl (Rebecca Rigg), whose nasty shark of a boyfriend, Kim, is played by a young Russell Crowe. Wallace thinks he's teaching these factory workers how business works, but it's he who learns a lesson. "Work isn't just about money," declares old Mr. Ball, the factory's owner (the exceedingly touching Alwyn Kurts). "It's about dignity, about treating people with respect. People need to make things." The movie's message has timeless resonance, as job security and pride in manufacturing vanishes from large industrialized nations. --Laura Mirsky

Nightmaster

The Efficiency Expert

The Efficiency Expert (released in theaters as Spotswood), a warm-hearted, wacky comedy with a social conscience, takes place in Australia in the "Swinging '60s," and its character, substance, music, and design are so authentic one nearly forgets that it was made in 1991. Sir Anthony Hopkins is wonderful as Errol Wallace, the efficiency expert of the title, who devises painful belt-tightening measures for struggling companies. Wallace is hired to modernize the dotty, antiquated Ball Moccasin Factory, and he's stunned at the impossibility of the task. The cutting room resembles a workshop full of Santa's elves; the men literally dance jigs while they work. Still, Wallace takes the bull by the horns and deputizes a young man, Carey (the winning Ben Mendelsohn), to help him downsize the factory. It's like trying to disband a tribe; many of the employees have been there for 30 years; romances blossom there. Homely Wendy (Toni Colette, of Muriel's Wedding and The Sixth Sense) loves Ben, but he lusts after tarty Cheryl (Rebecca Rigg), whose nasty shark of a boyfriend, Kim, is played by a young Russell Crowe. Wallace thinks he's teaching these factory workers how business works, but it's he who learns a lesson. "Work isn't just about money," declares old Mr. Ball, the factory's owner (the exceedingly touching Alwyn Kurts). "It's about dignity, about treating people with respect. People need to make things." The movie's message has timeless resonance, as job security and pride in manufacturing vanishes from large industrialized nations. --Laura Mirsky

Nightmaster

Night Master

The Man Who Sued God [Region 2]