Ward, Vincent

What Dreams May Come

Robin Williams and Annabella Sciorra star in this visually stunning metaphysical tale of life after death. Neurologist Chris and artist Annie had the perfect life until they lost their children in an auto accident; they're just starting to recover when Chris meets an untimely death himself. He's met by a messenger named Albert (Cuba Gooding Jr.) and taken to his own personal afterlife--a freshly drawn world reminiscent of Annie's own artwork, still dripping and wet with paint. Meanwhile a depressed Annie takes her own life, compelling Chris to traverse heaven and hell to save Annie from an eternity of despair.

The multitextured visuals seem to have been created from a lost fairy tale. Heaven recalls the landscape paintings of Thomas Cole and Renaissance architecture complete with floating cherubs, while hell is a massive shipwreck, an upside-down cathedral overgrown with thorns and a sea of groaning faces popping out of the ground (one of those faces is German director Werner Herzog). Williams is the perfect actor to play against the imaginative computer-generated imagery--he himself is a human special effect. But the lack of chemistry between Williams and Sciorra is painfully apparent, and the flashback plot structure flattens the story's impact despite its deeply felt examinations of the heart and the spirit. Still, there's no denying Eugenio Zanetti's triumphant production design and the Oscar-winning special effects, which create a fully formed universe that is at once beautiful, eerie, and a unique example of movie magic. --Shannon Gee

Map of the Human Heart

The visual sophistication of director Vincent Ward (The Navigator, What Dreams May Come) pulls us through this often awkward chronicle of the lifelong star-crossed passion shared by a Canadian Eskimo boy (Jason Scott Lee, from Dragon: The Bruce Lee Story) and the mixed-race girl (La Femme Nikita's Anne Parillaud) he meets and falls in love with as a child. (A glowering Patrick Bergin is the third corner of the triangle.) Flamboyant sequences, like an amorous clinch on top of a billowing dirigible, and the heartfelt grandeur of the Arctic landscapes, are almost enough to compensate for the clunky transitions and the melodramatic excesses of the storytelling. Almost. Ward's first film, The Navigator (not to be confused with The Flight of...), is a visionary oddity that gives a much clearer indication of the way his work was heading: into the upper atmosphere. --David Chute

No Description Available.
Genre: Feature Film-Drama
Rating: R
Release Date: 5-JUL-2005
Media Type: DVD

What Dreams May Come

Robin Williams and Annabella Sciorra star in this visually stunning metaphysical tale of life after death. Neurologist Chris and artist Annie had the perfect life until they lost their children in an auto accident; they're just starting to recover when Chris meets an untimely death himself. He's met by a messenger named Albert (Cuba Gooding Jr.) and taken to his own personal afterlife--a freshly drawn world reminiscent of Annie's own artwork, still dripping and wet with paint. Meanwhile a depressed Annie takes her own life, compelling Chris to traverse heaven and hell to save Annie from an eternity of despair.

The multitextured visuals seem to have been created from a lost fairy tale. Heaven recalls the landscape paintings of Thomas Cole and Renaissance architecture complete with floating cherubs, while hell is a massive shipwreck, an upside-down cathedral overgrown with thorns and a sea of groaning faces popping out of the ground (one of those faces is German director Werner Herzog). Williams is the perfect actor to play against the imaginative computer-generated imagery--he himself is a human special effect. But the lack of chemistry between Williams and Sciorra is painfully apparent, and the flashback plot structure flattens the story's impact despite its deeply felt examinations of the heart and the spirit. Still, there's no denying Eugenio Zanetti's triumphant production design and the Oscar-winning special effects, which create a fully formed universe that is at once beautiful, eerie, and a unique example of movie magic. --Shannon Gee

River Queen [Import]

The Navigator

Vincent Ward's mystical tale of a tiny 14th-century English hamlet during the devastation of the Black Plague mixes faith and fantasy in a compelling adventure. Ward creates a stark look with his high contrast black-and-white photography: dark huts against a snow-covered landscape and a gray sky, candles and campfires burning tiny pools of light in the midnight-black caves. The visions of young Griffin (Hamish McFarlane) break this austere style with color dreams, at first merely flashes of images, then a vivid narrative of a pilgrimage through the center of the earth. Griffin's older brother Connor (Bruce Lyons), who has just returned from the dying, diseased cities of England, leads this great journey to an alien world of metal beasts and towering ramparts (revealed as a modern New Zealand city) to make their offering to God. Ward keeps the camera tied to their experience, creating a nightmarish vision of familiar objects and locations: a busy highway, a junkyard, a remarkable run-in with a surfacing submarine. Throughout, Griffin's haunting flashes of the future taunt him with clues to a death in the party, but they don't reveal who. The Navigator defies genre, mixing fantasy and science fiction, religion and mysticism, historical realism and modern adventure, to create a compelling, beautiful, visually stunning leap of faith. --Sean Axmaker

What Dreams May Come [Region 2]

Robin Williams and Annabella Sciorra star in this visually stunning metaphysical tale of life after death. Neurologist Chris and artist Annie had the perfect life until they lost their children in an auto accident; they're just starting to recover when Chris meets an untimely death himself. He's met by a messenger named Albert (Cuba Gooding Jr.) and taken to his own personal afterlife--a freshly drawn world reminiscent of Annie's own artwork, still dripping and wet with paint. Meanwhile a depressed Annie takes her own life, compelling Chris to traverse heaven and hell to save Annie from an eternity of despair.

The multitextured visuals seem to have been created from a lost fairy tale. Heaven recalls the landscape paintings of Thomas Cole and Renaissance architecture complete with floating cherubs, while hell is a massive shipwreck, an upside-down cathedral overgrown with thorns and a sea of groaning faces popping out of the ground (one of those faces is German director Werner Herzog). Williams is the perfect actor to play against the imaginative computer-generated imagery--he himself is a human special effect. But the lack of chemistry between Williams and Sciorra is painfully apparent, and the flashback plot structure flattens the story's impact despite its deeply felt examinations of the heart and the spirit. Still, there's no denying Eugenio Zanetti's triumphant production design and the Oscar-winning special effects, which create a fully formed universe that is at once beautiful, eerie, and a unique example of movie magic. --Shannon Gee