When it comes to the subject of community, David E. Kelley--the prolific writer-producer behind television's The Practice and Ally McBeal--falls somewhere on a continuum between directors Howard Hawks and Robert Benton. While Hawks's professional characters are bound by a knowledge of how to do what they do even if they don't know why, Benton's people, professional or not, have long ago substituted their own eccentric reasons for that elusive why.
Philip Seymour Hoffman adds another great performance to his gallery of losers in Owning Mahowny, an engrossing, fact-based comedy-drama about the perils of compulsive gambling. The subject is hardly new to movies, but as Toronto bank-loan manager Dan Mahowny, Hoffman brings fresh depth and tortured humanity to his portrayal of a man who helplessly feeds his pathological need to gamble with millions in embezzled bank money that he can't afford to lose.
Sean Connery plays a master thief thought to be long retired, while Katherine Zeta-Jones is his foil, a hotshot insurance investigator assigned to his case. They both have a little something to hold over each other's heads, until it turns out that Zeta-Jones is a professional art thief herself and is playing on both sides of the fence. At first they eye each other with mutual distrust until they team up for a job, which goes off without a hitch.
Kevin Costner's 1990 epic won a bundle of Oscars for a moving, engrossing story of a white soldier (Costner) who singlehandedly mans a post in the 1870 Dakotas, and becomes a part of the Lakota Sioux community who live nearby. The film may not be a masterpiece, but it is far more than the sum of good intentions. The characters are strong, the development of relationships is both ambitious and careful, the love story between Costner and Mary McDonnell's character is captivating.
