Ed Harris movies

But what really makes THE TRUMAN SHOW work is all the side issues raised by the screenplay. At one level, it's a satire of television, in that the viewers and producers talk about Truman as if he really were nothing more than a character in a TV show, and some of his little daily problems are the artificial, contrived stuff of soap operas. It can also be read as a shot at the current fad of "reality" programming that has brought us the likes of "World's Scariest Police Chases" and "When Animals Attack." Equally interesting, however, is the issue of how we simply accept the reality into which we are born. There are times when I found myself wondering why Truman didn't start getting suspicious earlier, but the small bits of weirdness like the supposed crumbling airplane may well just be part of everyday life as far as he's concerned. Niccol's screenplay also addresses the human rights aspect rather well. He allows Christof to argue that it is the outside world with all its violence and unrest that is sick and twisted rather than his scheme to keep Truman in the studio and on camera, yet still ultimately sides with the small "Free Truman" movement that seems to have sprung up.

Simply put, THE TRUMAN SHOW has everything that makes for an excellent film: an engaging lead performance, a screenplay with solid characterization and plotting and interesting subtexts, and controlled direction that adds to the personality of the film without getting in the way

The presence of Russell Crowe dominates the movie, and I think his portrayal of John Nash is the film's biggest asset. Jennifer Connelly is also quite good as Nash's loving and supportive wife-my only complaint is that I wish her role had been bigger and more complex. I liked the performances of the actors in the other supporting roles as well, particularly Ed Harris, who plays a mysterious U.S. government undercover agent.

There are two things that director Ron Howard and screenwriter Akiva Goldsman did in the film that I really admire. One is the way they found to show the audience the delusions and paranoia suffered by a schizophrenic. The other is how they were able to illustrate the essence of Nash's Nobel-winning mathematical idea in terms of guys trying to pick up girls in a bar.

Watching Cuba Gooding Jr. and Ed Harris onscreen, I soon forgot the awkwardness of the missing armrest next to me. Their performances were nothing short of excellent, especially that of Cuba Gooding Jr. At times, mere glances with his eyes were enough to tell the story, superbly conveying Radio's feelings to the audience, especially before we heard him speak at the beginning. Ed Harris's character enjoyably complemented Cuba's, and the two developed a very believable and enjoyable onscreen friendship.

Aside from the acting, one of the most impressive things about "Radio" was that, by the end of the film, almost every character had been believably changed in some way. From the coach to his wife and daughter, to the players on the team, they were all in some way noticeably different by the film's end. This included Radio himself, who had found a place for himself in a world where most people had barely cared to notice him. This is a difficult task for most films to pull off convincingly with one character, let alone several. Director Michael Tollin and screenwriter Mike Rich deserve to be commended.

In the end, "Radio" was a remarkable film. James Horner's musical score brilliantly highlighted nearly every scene, blending flawlessly with the unfolding story. It was a story that embraced the very essence of living, reminding us of virtues that can make us all a little bit better.

A superior, haunting thriller of abduction, deception and ethical dilemma with a sobering ending - a moral quandary that demands strong debate outside the cinema.