One Night At McCool’s Dir: Harald Zwart. Starring: Liv Tyler, Matt Dillon, Michael Douglas, Paul Reiser, John Goodman I never realised how good an actor Michael Douglas is until this year. And it’s not as if I hadn’t seen much of his work, but in the last decade or so the choices he’s made have truly been varied and actually caused him to stretch those acting muscles. Maybe it’s due to loosing those matinee idol looks in his late forties (Wall Street being the last film he truly got away with looking even ‘vaguely attractive’) and with that he finally lost that slightly smug attitude and truly developed – War of the Roses, Falling Down, The Game, Traffic, Wonder Boys, and hey, even Basic Instinct is a well made and enthralling thriller if you ignore it’s more exploitative moments. So that he’s just a supporting character and everyone around him holds their own equally well against him should go someway to suggest just how good this film is. Effortlessly cool in the way that directorial debut’s only seem to be, this is sexy, thrilling fun, never predictable, and always captivating. Liv Tyler is the hypnotically beautiful Jewel, framed always too look utterly wonderful, who wanders in and out of men’s lives just trying to find a perfect home, and whilst undoubtedly intelligent, her doe eyed look and pouty lips are so seductive that you can’t help but feel sympathy for her despite the various crimes she so casually commits. Whilst Matt Dillon has little to do other than look happy or sad once again, he does that laconic loser thing so well that he’s perfect for the role. John Goodman’s great too, as always, as an overly concerned police detective who falls in love with Jewel, whilst Paul Reiser’s finally perfected that ‘arsehole role’ he’s been playing for the last two decades, and I defy anyone not to enjoy his unfortunate, and somewhat fantastically needless, decline. The soundtrack’s marvellous as well, a mix of seventies funk and disco,

and it’s inventive in it’s use for once. And anyone who claims that they predicted the use of such an infamous song (which we won’t name, as it would ruin a quite startling scene) would work so well over such a dramatic moment towards the end of the movie, well, they’re liars, and it’s as simple as that. After viewing so much slightly above dross on video recently, it’s been so refreshing to watch something smart, engaging and satisfying. It’s out on video now, so rent, and don’t be surprised when you find yourself not returning it for a week. Alex Finch.

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