Cinema Experts

“A lot of people say I've missed out on a lot because I started acting at such a young age. What's so obvious to me is that I actually was really lucky. I gained a lot and I got a head start in what I wanted to do in life. A lot of people in their late 20s, early 30s are just beginning to figure out where they want to go.”
Dillon was born in New York to second-generation Irish American Catholic parents Paul Dillon (a painter and sales manager for Union Camp, a packing material manufacturer) and Mary Ellen (a homemaker). In 1979, casting director Vic Ramos spotted Dillon while he was cutting class, and cast him in Over the Edge. The film received a regional, limited theatrical release in May 1979, and grossed only slightly over $200,000. Dillon's performance was well-received, which led to his casting in two films released the following year; the teenage sex comedy, Little Darlings, in which Kristy McNichol's character loses her virginity to a boy from the camp across the lake, played by Dillon, and the more serious teen drama, My Bodyguard, where he played a high-school bully opposite Chris Makepeace. The films, released in March and July 1980, respectively, were box office successes and raised Dillon's profile among teenage audiences. One of his best early roles was in the Jean Shephard PBS special "The Great American Fourth of July". The only available copies of this film are stored at UCLA where a legal dispute makes it unavailable to the public.
His next role was in the 1982 film, Tex, followed two months later by Liar's Moon, where he played Jack Duncan, a poor Texas boy madly in love with a rich banker's daughter. In the mid-1980s, Dillon had prominent roles in three adaptations of S.E. Hinton novels: Tex (1982) The Outsiders (1983) and Rumble Fish (1983). All three films were shot in Tulsa, Oklahoma, Hinton's hometown. The Outsiders and Rumble Fish had Dillon working with Francis Ford Coppola. He also starred in The Flamingo Kid.
In 1987, Dillon appeared briefly as a policeman in the music video for the song Fairytale of New York by The Pogues and Kirsty MacColl, a major hit in Ireland and the United Kingdom. In 1989, Dillon won critical acclaim for his performance as a drug addict in Gus Van Sant's Drugstore Cowboy.
Dillon continued to work in early 1990s with roles in movies like Singles (1992). He had somewhat of a career resurge as the role of Nicole Kidman's husband in To Die For (1995), as well as large roles in Wild Things (1998) and There's Something About Mary (1998), for which he received an MTV Movie Award for Best Villain.
In 2002, he also wrote and directed the film City of Ghosts, starring himself, James Caan and Gérard Depardieu. Two years later he appeared in Crash; Dillon received much praise for his performance, including Best Supporting Actor Golden Globe and Oscar nominations. He also co-starred in Disney's Herbie: Fully Loaded.
Dillon's most recent role is in the comedy You, Me and Dupree, opposite Kate Hudson and Owen Wilson. The film opened on July 14, 2006.
On September 29, 2006 the actor was honored with the price Premio Donostia in the San Sebastian International Film Festival.

“You're not anybody in America unless you're on TV. On TV is where we learn about who we really are. Because what's the point of doing anything worthwhile if nobody's watching? And if people are watching, it makes you a better person.”
Gus Van Sant is part of the fixture in American independent cinema and although "To Die For" was a piece of work that came from the studios, he films the story of this female go-getter ready for anything to accede glory and fame in a very personal way.
It's built on an alternation of present moments in which various characters who crossed Nicole Kidman's path talk about her and flashes-back that relate the turn of events.
Characters including her parents, her former young lover and friends express their thoughts about her without succeeding in understanding her. There, appears the first quality of Van Sant's work: the somewhat elusive personality of her main female character who especially manipulated her close relatives to go up the social ladder and to achieve her ends.
Manipulation is very present throughout the work with the conspicuous presence of TV and camera. And you have to see the contrast between the dynamic Suzanne Maretto (Nicole Kidman) and her rather listless husband Larry acted by Matt Dillon and especially the teenagers who hang around us like Jimmy Emmett (a young and good Joaquin Phoenix) or Lydia Mertz (Alison Folland). There, appears Van Sant's signature.
"To Die For" includes some of the filmmaker's obsessions revolving around an American youth who is adrift and lacks of marks for their future and security. What Jimmy and timid, hung-up Lydia need is true love, something that Suzanne can't really give them. And her plan to report on an American high school is only a means to establish a little more her galloping ambition. Van Sant will resume his set of themes about a ramshackle American youth and will hone it with his masterful "Elephant" (2003).
The choice of the scenery (Moretto's house) and the brightness of the cinematography, Nicole Kidman's make-up fuel the somewhat quirky side of the venture and Van Sant doesn't deprive himself of gently laughing at her female heroine. I dig the moments when she goes to the office held by Wayne Knight to ask for a job and ends up hosting the weather forecast on a little local area. A task she painstakingly fulfills. Nicole Kidman holds her role at arms' length and has a tremendous screen presence. It's just a shame that Van Sant doesn't emphasis enough on the madness that seizes Suzanne after the murder when she is interviewed by the journalists.
But see it anyway for Kidman and the manner Van Sant tells this story of ambition, manipulation and hypocrisy. And David Cronenberg has a surprising cameo at a well-appropriated moment in a vital step of the heroine's fate… 8/10

“It's the sense of touch. In any real city, you walk, you know? You brush past people, people bump into you. In L.A., nobody touches you. We're always behind this metal and glass. I think we miss that touch so much, that we crash into each other, just so we can feel something.”
"Crash" is a complex movie with a simple premise: set in Los Angeles it follows 8 main characters (and many, many more supporting) from all walks of life and races whose lives intersect at some point during one 24 hour period. These people are all different yet all alienated, to the point of breaking, so much so that when they come together, things explode.
The complexity of the film comes from the encounters between characters and their tangled lives and worlds. Haggis' screenplay is so intricate and delicately written I couldn't begin to try to summarize the actual plot line (which destines this article to be kind of vague), but everyone meets everyone else at some point in the film (and there are a whole lot of characters). Sufficed to say these meetings are variably intense, casual, fleeting, dangerous, but they all effect the participants in profound and provocative ways, causing lives to find enlightenment or swerve violently, and watching it all unfold is mesmerizing because Paul Haggis (Oscar Nominated writer of Million Dollar Baby) made the film meaty with messy characters and topics and stories to chew and hurtle along with.
The all-encompassing theme of the film is racism, and it is dealt with bluntly, honestly, and without reservation. Every single character participates in the perpetuation of the ugly cycle but also suffers because of it. Where racism makes for an interesting enough subject for an already provoking and fairly experimental film, it's only the catalyst for a deeper, resounding story of redemption and the universality of our lonely situation which the movie becomes during its second hour. It switches from a somewhat depressing contemplative amalgamation of moments about racism in everyday life and how destructive it is, to a throbbing, intense web of choices and consequences - life and death, vivifying or soul killing - and the chance at redemption.
Following their actions in the first hour of the film, everyone meets a fork in the road or is given a second chance of some sort. Some take it, some don't, but regardless, by the end of the movie everyone has changed. This is what gives the movie wings during its second hour, makes it interesting, keeps you guessing and on knife's-edge. It also gives the characters depth and souls and shows that despite perceived and upheld differences, when it comes down to it we aren't different (which we see in a shattering scene between Ryan Philippe and Larenz Tate after Tate notices that he and Philippe have the same St. Christopher statue), in fact we desperately need each other. It's one of the few films I've seen where everyone is at fault somehow and yet there are no villains. It makes it hopeful, particularly with something as ugly as racism: everyone's fallible, but everyone has the capacity for good and nobility. That said, each of these character's inner struggles makes for all the conflict and resolution you need.
A talented ensemble drives the film, sharing almost equal amounts of screen time, but the folks who really stood out and had my full attention each time were Terrence Howard (plays a TV director), Matt Dillon (as a patrol cop), Sandra Bullock (a rich housewife), Don Cheadle (a detective), and Michael Peña (a locksmith). These five gave deeply, deeply felt performances portraying a wide range of emotions and personal situations, giving souls - alone, yearning, and searching in a world that doesn't seem to care-- to shells of imperfect people. But the actors triumph in little moments of human contact: a glance, an embrace, a pause, a smile, a wince, things that breath the film to life and with simple visuals give it profundity. This is beautifully illustrated in a small scene between the downward spiraling Jean (Sandra Bullock) and her maid after she's begun to realize all her problems may not be about the two black guys who car jacked her, but her own life.It's impressive, with his debut Haggis made a film that magically maintains a storytelling balancing act about people's lives that almost seamlessly flows, takes an honest look at racism with an understanding of mankind, a belief in redemption, and even hope. As I walked out of the theater into the rainy night it resonated with me and colored my thoughts as I made my way through the crowds of unknown fellow people filling the cinema. That's about all I can ask for in a film… 10/10