"What Dreams May Come" * * * (out of four)
Starring Robin Williams, Cuba Gooding, Jr., Annabella Sciorra, Max von Sydow, Jessica Brooks, Josh Paddock and Rosalind Chao
Directed by Vincent Ward
Rated PG-13 for very mature themes and mild profanity
Theatrical aspect ratio of 2.35:1
Released in 1998
Running 113 minutes
"What Dreams May Come" is like two movies in one. On one hand, it's one of the most manipulative, dry, boring and even silly dramas I've ever seen. The title may come from a quote from "Hamlet", but believe me; "Hamlet" it ain't. Also, Vincent Ward's direction is so self-indulgent it's almost laughable. But on another, much more positive note, it is the most breathtakingly beautiful film this critic has ever seen. No other movie in the history of cinema has taken me on such a sensory journey for the senses and, above all, the imagination. There are shots in this film that will literally make your mouth drop open. In my mind, there is absolutely no question as to what should/will pick up some Oscars in March for cinematography and art direction.
However, as visually stunning as "Dreams" is, the monotonous and rather shallow narrative really bogs it down. Despite predictably great performances from the film's two leads, Robin Williams (who may be looking at another nomination, if he doesn't nab one for the up-coming "Patch Adams") and Annabella Sciorra, it never really rises out of the hole it dug itself into to become the truly great film experience that it should have been. Something with this much potential can't afford any screw-ups.
The story starts out promising, but as I said, gets increasingly predictable and silly. Williams is Chris Nielsen, a married doctor mourning the recent deaths of his two children (Jessica Brooks and Josh Paddock), who died in a car wreck. In a coincidence even the film seems to find extreme, Chris dies a short time later in yet another car crash trying to save someone else's life.
Chris is taken to Heaven (though not immediately), where he meets an old doctor friend of his now acting as his guide and companion in his own version of the afterlife. For a short time, Chris runs free, enjoying the unparalleled pleasures of the kingdom of God.
Here is where the strong art direction and cinematography kick in. Williams' vision of Heaven is so unique and, for lack of a better word, revolutionary, that I just sat in my seat and gawked at what I was seeing.
After a while, it is found out that Chris' wife Annie, distraught over her recent losses, took her own life and is now condemned to an eternity in Hell. Only with the help of another guide called, plainly enough, The Tracker (Max von Sydow - is anyone surprised?) will Chris be able to travel to the underworld and bring back the woman he loves.
It is also worth noting that the film's vision of Hell are equally as stunning as Heaven's. It is still beautiful and brilliantly realized, only in a much darker and more disturbing way.
All in all, director Ward took what had the potential to be the very best of '98s films, put in some stupid plot twists (the "twists" that I'm referring to occur not once, not twice, but three times during the movie. The only problem is, it's the same twist over and over!) and slapped on a happy, smilely and way to sappy ending, all to assure box office results. Note to Hollywood; when you have great material, put it in the hands of a capable filmmaker.
*Complimentary movie ticket courtesy of Valley Cinemas at http://www.movie-tickets.com
**Find all of Jason's reviews at http://www.geocities.com/Hollywood/Boulevard/7475
Copyright 1998 Jason Wallis
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