Frequency

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No, its plot doesn't make conventional sense, but we are happy to buy into it--at least up to a point. We empower films like this because we want to, because filmmaking skill encourages us to suspend disbelief and agree, even if only for awhile, that seeing really is believing.</div> <div>  Links between the present, the future and the past, the ability to move people (or in this case, information) through time is a science-fiction staple with understandable appeal. Who wouldn't want to go back and correct a past mistake or embark, with the wisdom of hindsight, on a path foolishly not taken?</div> <div>  There is, of course, a classic hitch to this perpetual daydream. Anything you redo in the past by definition affects the future (that's in fact the plot hook of both "Terminator" epics), and often in ways that are impossible to foresee. It's a domino effect with potentially catastrophic implications, a poison pill that lies at the heart of this film's complicated structure.</div> <div> "Frequency" opens with something very concrete and specific: a graphic tanker truck accident on an offramp of New York's George Washington Bridge. This bravura sequence not only sets up Frank Sullivan (Dennis Quaid) as the kind of casually heroic fireman who thinks risking his life is no big deal, it establishes the action bona fides of director Hoblit.</div> <div>  Working with cinematographer Alar Kivilo and editor David Rosenbloom, Hoblit knows how to ratchet up the tension and isn't afraid to do so, giving us reason to be patient through the extensive exposition that follows before the excitement starts up again.</div> <div> Though it looks contemporary, that rescue scene takes place on Oct. 10, 1969. Sullivan, married to the appealing Julia (Elizabeth Mitchell) and with a 6-year-old son named Johnny, lives in Bayside, Queens, and is by all appearances the happiest family man in all five boroughs.</div> <div> In whatever time he can spare from teaching Johnny to ride a bike, Sullivan is a ham radio operator, and that night turns out to be a special one. Aurora borealis, the northern lights, are visible over Queens and doing strange things to the atmosphere. "I'm picking up frequencies," Sullivan says, "from places I could never reach." No kidding.</div> <div> Just like that, it's 30 years later, Oct. 10, 1999, the northern lights have returned, and little Johnny is grown up into darkly handsome John, a New York City police detective. Conveniently enough he still lives in the Bayside house he grew up in though his father is now dead and his mother moved to an apartment.</div> <div> Rummaging through a closet, John comes across his dad's old shortwave set and, on a whim, sets it up again while a TV talk-show voice in the background philosophizes about "time being far more fluid than anyone could have imagined." A voice crackles through the static that sounds awfully familiar. Could it be his father, speaking to him from that same night 30 years ago? Though it astounds both men when they realize what's happening, that's exactly the case.</div> <div> Suddenly, John realizes what the date is. On Oct. 11, 1969, his father died a hero's death in a warehouse fire. Desperately, heedlessly, he gives his father some hurried advice over the radio that he hopes will save his life.</div> <div> Apparently not a sci-fi fan, John doesn't realize that attempting to make changes in the past will have powerful and unforeseen consequences in the present, but the rest of "Frequency" will teach him that lesson in a big way. In fact, John starts to feel he's living in two realities at once, the one he remembers and the new one his actions have somehow created.</div> <div> This is, as noted, not the most realistic of scenarios but it's the gift of "Frequency" to make us feel it's plausible. Strong acting is a key, especially by Caviezel, memorable as the AWOL soldier in "The Thin Red Line," and by Andre Braugher as the policeman friend of two generations of Sullivans.</div> <div> Also critical is Hoblit's ability to add a level of realism to the proceedings. As he demonstrated in his two previous features, "Primal Fear" and "Fallen," Hoblit has the kind of driving, involving style that is capable of creating credibility for far-fetched situations. In a scenario where reality can change in an instant, that's a formidable talent to have.</div> <div> Unfortunately, "Frequency," after keeping its balance over much treacherous terrain, greedily overreaches and stumbles badly at the close. Screenwriter Emmerich (brother of actor Noah Emmerich, who plays John Sullivan's pal Gordo Hersch) ends up trying for one twist too many and causing the whole delicately balanced house of cards to collapse. If only he could go back to the past and rewrite that part of the script, we'd all be grateful.</div> <bR> <div> MPAA rating: PG-13, for intense violence and disturbing images. Times guidelines: Firefighting images are especially intense.</div> <bR> <div>      'Frequency'</div> <div>      Dennis Quaid: Frank Sullivan </div> <div>      Jim Caviezel: John Sullivan </div> <div>      Andre Braugher: Satch DeLeon</div> <div>      Elizabeth Mitchell: Julia Sullivan </div> <div>      Noah Emmerich: Gordo Hersch </div> <div>      Shawn Doyle: Jack Shepard</div> <bR> <div> Released by New Line Cinema. Director Gregory Hoblit. Producers Hawk Koch, Gregory Hoblit, Bill Carraro, Toby Emmerich. Executive producers Robert Shaye, Richard Saperstein. Screenplay Toby Emmerich. Cinematographer Alar Kivilo. Editor David Rosenbloom. Costumes Elisabetta Beraldo. Music Michael Kamen. Production design Paul Eads. Art director Dennis Davenport. Set decorator Gordon Sim. Running time: 1 hour, 57 minutes.</div> <bR> <bR> <div> <TABLE BORDER="0" CELLPADDING="1" CELLSPACING="1" WIDTH="507" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="VOID" RULES="NONE" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=TOP HEIGHT= 1282 WIDTH="1"><IMG BORDER="0" SRC="1x1.gif" HEIGHT="1282" ALIGN="bottom" WIDTH="1" HSPACE="0" VSPACE="0"></tD> <tD VALIGN=TOP WIDTH="5"><bR> <bR> <bR> </tD> <tD VALIGN=TOP WIDTH="415"><div> <B>RIDING WITH `FREQUENCY':</b><B> Jim Caviezel follows `Devil' with a unique acting challenge</b>  <I><B>By ROBERT W. BUTLER - The Kansas City Star</b></I> <B>Date: 05/05/00 22:15</b>  With just one reading, Jim Caviezel knew he loved the screenplay for "Frequency." But he wasn't sure that making the fantasy would be much fun.  After all, the bulk of his scenes would be solo. Caviezel was signing on to play John Sullivan, a young homicide cop whose ham radio allows him to talk to his late father (Dennis Quaid) 30 years in the past. This happy mystery also allows the son to warn the father of his impending demise, thus altering history.  "I figured I was going to be speaking my lines into this microphone with no other actor to work with," Caviezel said in a recent telephone interview from Los Angeles. "But the director, Greg Hoblit, was smart. He put Dennis and me on the same sound stage -- him on the 1969 set and me on the 1999 set. There were two cameras on Dennis and two on me, filming simultaneously, and we were really talking over the radio.  "Of course I couldn't see Dennis at all, I was staring at a wall. But hearing his voice and knowing he was talking to me just a few yards away -- it meant I was acting <I>with</I> someone."  "Frequency" earned $9.1 million on its opening weekend, good enough for a third-place slot in the box-office rankings but hardly spectacular. Caviezel thinks word-of-mouth will continue to attract crowds and keep the film afloat.  "When they were testing this film it went through the roof," he noted. "The marketing guys said they'd never had a movie that tested this well with so many age brackets."  In fact, the independent research firm Cinemascore did exit polls last weekend at theaters showing "Frequency" and found that men under 21 gave it an average grade of A plus, while females liked it only slightly less, giving it an A minus. Men over 21 graded it an A minus or B plus, while females over 21 scored it as a B plus.  "Frequency" had personal meaning for Caviezel.  "When I was in Kansas City filming `Ride With the Devil' " -- he played Black John, the murderous commander of a pack of Civil War bushwhackers -- "my dad had to go in for open heart surgery. I was terrified that I might lose him.  "I used a lot of those feeling in the film -- the idea that my character was only a boy when he lost his father and has been living ever since with that void you feel inside. People try to fill that void with substances, drinking, smoking ... and at the same time John Sullivan is a homicide cop who gets exposed to a pretty nasty view of the world. He's always seeing the worst of human nature. So he's depressed, his energy is being sapped, he's dying inside.  "Then all of a sudden this flicker of light comes on, this voice on the radio. Really, I just kept thinking of `It's a Wonderful Life.' `Frequency' is a movie about a guy who finds the meaning in his life."  Caviezel, a high school basketball star who turned to acting after an injury ended his sports career, was a teen-ager when he landed as small role as an Italian immigrant in "My Own Private Idaho." He later earned a slot at New York's prestigious Juilliard School of the Arts, but turned down that opportunity to appear in Kevin Costner's "Wyatt Earp." His first big role was Private Witt, the mystical soldier in Terrence Malick's "The Thin Red Line."  "When I'm looking at material, I'm always studying the story," Caviezel said. "It's the story that drives most movies. And I've been looking for a romantic comedy for the longest time -- but these other movies keep coming up."  On the personal side, Caviezel said he and his wife, Kerri, are contemplating a move from their home in Washington state and that Kansas City is one of the cities they're looking at.  "I really enjoyed the time I spent there making `Ride With the Devil,' " Caviezel said. "The place was friendly, the people were nice ... I could see going back."    </div> </tD> <tD VALIGN=TOP WIDTH="73"><IMG BORDER="0" SRC="1x1.gif" HEIGHT="1282" ALIGN="bottom" WIDTH="73" HSPACE="0" VSPACE="0"></tD> </tR> </TABLE></div> <div> <TABLE BORDER="0" CELLPADDING="1" CELLSPACING="1" WIDTH="611" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="VOID" RULES="NONE" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=TOP HEIGHT= 16 WIDTH="105"><IMG BORDER="0" SRC="1x1.gif" HEIGHT="16" ALIGN="bottom" WIDTH="105" HSPACE="0" VSPACE="0"></tD> <tD VALIGN=TOP WIDTH="5"><IMG BORDER="0" SRC="1x1.gif" HEIGHT="16" ALIGN="bottom" WIDTH="5" HSPACE="0" VSPACE="0"></tD> <tD VALIGN=TOP WIDTH="415"><IMG BORDER="0" SRC="1x1.gif" HEIGHT="16" ALIGN="bottom" WIDTH="415" HSPACE="0" VSPACE="0"></tD> <tD VALIGN=TOP WIDTH="73"><IMG BORDER="0" SRC="1x1.gif" HEIGHT="16" ALIGN="bottom" WIDTH="73" HSPACE="0" VSPACE="0"></tD> </tR> </TABLE></div> <div> <B>Jim Caviezel traverses time in new thriller </b></div> <div> NEW YORK: In "Frequency," Gregory Hoblit's new time-travel thriller, Jim Caviezel plays John Sullivan, a young cop whose father was killed in a fire 30 years earlier. </div> <div> Everything changes when a spectacular sky storm allows father and son to communicate by ham radio through time. Sullivan is able to warn his father about the mistake that cost him his life. But saving his father's life alters events leading from 1969 to 1999, with tragic consequences. </div> <div> Caviezel, 31, is so thoroughly believable as Sullivan that it takes a moment to adjust to the notion that the soft-spoken actor with the gentle drawl is the same person who plays New York City firefighter Dennis Quaid's son in the film. </div> <div> On this day, there is no trace of the fiery, tormented Sullivan in Caviezel. Even his features seem different: softer, less angular. He is gracious and polite, and his manner is quiet and understated. A native of rural Washington, Caviezel wanted to be a pro basketball player. After suffering a foot injury, he took the discipline and the ability to endure failure that he learned in basketball - "I never had the talent to play the game at all" - and applied it to acting. His uncanny ability to mimic other people also helps. </div> <div> The character of John Sullivan grew up in Queens, N.Y., which meant Caviezel had to learn to speak with a Queens accent. "That was probably the most nerve-racking part of (making the film). `Can I get it? Do I have enough time?' 'Cause I only had like two weeks before the film started to absorb it, and luckily because of my experience of impersonating people, I was able to acquire that skill," he said. </div> <div> His acting career began with a small part in the 1991 film "My Own Private Idaho." (He landed the role of an airline clerk by fooling casting agents into believing he was a recent Italian immigrant.) He appeared in a handful of other films, including "Diggstown," "Wyatt Earp," "The Rock" and "G.I. Jane," before winning critical acclaim in Terrence Malick's "The Thin Red Line" He recently appeared in Ang Lee's "Ride With the Devil." </div> <div> Caviezel's upcoming films include "Madison," a true story about the economically depressed community of Madison, Ind., and the town's desire to win a Gold Cup hydroplane race. </div> <div> Did he always have the acting bug? No, he says. "Never had it. I did voice impersonations growin' up, but all I did was play basketball. That's what my goal was. Then I tore my foot up. I wanted to play in the NBA so bad. I went to camps all summer long. I was always seen with a basketball. My fingers were always cut up 'cause of the wear of the ball on my fingers during the hot summer days of playing on the pavement. My whole room was completely covered in sports, everything. </div> <div> Why does he compare his upcoming film "Madison" to the basketball film "Hoosiers"? Says Caviezel: "It's like `Hoosiers' on water is what it is. ... It's about the Gold Cup race and this guy, what he was willing to sacrifice, and this town, they supported their own boat and they still do. They compete against ... Budweiser, all the big companies, and this town scratches money together and puts their boat on the circuit. </div> <div> And his feelings when he saw "Frequency" for the first time? "I was proud of the film. I just love the film. ... It's got so many things that you can relate to. ... It's your love for something and what you are willing to do in that moment to save that person's life or speak your mind about something and not quitting, and so I recognize that in John Sullivan, and how much that I love my own father and mother. </div> <div> What drew him to the film? "The father-son story. ... I'm very close to my dad. ... And that was carried through in the film. In the scenes where I'm talking to my father, there was nothing written in there that said, `OK, John Sullivan gets very emotional here.' It just happened, which gave a real quality to the story.(AP) </div> <bR> <div> <TABLE BORDER="0" CELLPADDING="1" CELLSPACING="1" WIDTH="868" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="VOID" RULES="NONE" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=TOP HEIGHT= 555 WIDTH="864"><div> <B>Trouble with Time  |</b>   Gemma Files  Former TV director Gregory Hoblit's debut big-screen effort, <B>Primal Fear</b>, broke few molds but introduced the world to Edward Norton; Hoblit then went on to <B>Fallen</b>, a similarly well-cast, high-concept outing -- Denzel Washington vs. body-hopping demon -- which fell down in the crunch due to rampant plot logic hemorrhage. Both movies confirm his basic skill at reinforcing well-written characters with multilayered performances. But in terms of making sure that the details fit the big picture, he still has a lot left to learn, and never has this schism been more apparent than in Hoblit's most recent entry, <B>Frequency</b> -- a movie which works with stunning effectiveness on a purely emotional level, yet fails utterly to support the mounting internal demands of its own premise.  John Sullivan (Jim Caviezel) is a homicide detective from Queens, New York, whose entire life has been defined by the fact that he lost his father, Frank (Quaid) -- a macho firefighter whom John adored, but could never really bond with -- way back in 1969, when the older man died while rescuing hippie runaways from a waterfront warehouse blaze. As the thirty-year anniversary of his dad's death approaches, John starts a late-night conversation with another working-class Queens guy over Frank's old ham radio, and makes a life-shattering realization: Somehow (there's vague talk of sunspots, the Northern Lights and "string theory"), he is receiving a signal from 1969...and the voice on the other end is that of his own dead father.  Now, this is some fairly big-league weirdness at work -- and if either of these characters were a little better-educated, they'd be paralyzed by the situation's implications. But since they're two shmoes with thick New Yawk accents, John quickly lets slip that Frank should watch the hell out if he finds himself evacuating a burning warehouse anytime in the near "future" -- and Frank (though initially certain this full-grown man claiming to be his "currently" six-year-old son must be some kind of shortwave stalker) ends up avoiding his own 1969 death, thus setting off a temporal ripple which literally re-writes John's 1999 reality.  Both Cavaziel and Quaid are achingly good here, sketching an instantly resonant portrait of two very different men mired in nostalgia and seduced by hope. But just as every aspect of the Sullivan father/son relationship rings instantly true, every subsequent move they make to take advantage of the temporal back-and-forth rings increasingly false. (By the end, without being too specific, we're being asked to believe that events are taking place at "the same time", though actually separated by a thirty-year gap.) Between them, Frank and John break every possible rule of cross-time communication -- and as the fallout gets ever worse, their responses, though always emotionally satisfying, become ever more cerebrally impractical.  Kudos goes to Hoblit's deft hand with casting, especially in the case of Andre Braugher, who plays Frank's best friend/John's homicide mentor; the clear implication seems to be that if someone as reflexively cynical as him can be gotten to accept this freakery, it really MUST make sense, on some level. But good casting only takes us so far, and <B>Frequency</b> -- fun as it remains -- really doesn't have the chops to go the rest of the distance. Thus confirming the moral of a thousand Twilight Zone episodes: Don't play with time...  ...unless you're absolutely SURE you can get away with it. </div> </tD> </tR> </TABLE></div> <bR> <div> <B>Jim Caviezel traverses time in new thriller </b></div> <div> NEW YORK: In "Frequency," Gregory Hoblit's new time-travel thriller, Jim Caviezel plays John Sullivan, a young cop whose father was killed in a fire 30 years earlier. </div> <div> Everything changes when a spectacular sky storm allows father and son to communicate by ham radio through time. Sullivan is able to warn his father about the mistake that cost him his life. But saving his father's life alters events leading from 1969 to 1999, with tragic consequences. </div> <div> Caviezel, 31, is so thoroughly believable as Sullivan that it takes a moment to adjust to the notion that the soft-spoken actor with the gentle drawl is the same person who plays New York City firefighter Dennis Quaid's son in the film. </div> <div> On this day, there is no trace of the fiery, tormented Sullivan in Caviezel. Even his features seem different: softer, less angular. He is gracious and polite, and his manner is quiet and understated. A native of rural Washington, Caviezel wanted to be a pro basketball player. After suffering a foot injury, he took the discipline and the ability to endure failure that he learned in basketball - "I never had the talent to play the game at all" - and applied it to acting. His uncanny ability to mimic other people also helps. </div> <div> The character of John Sullivan grew up in Queens, N.Y., which meant Caviezel had to learn to speak with a Queens accent. "That was probably the most nerve-racking part of (making the film). `Can I get it? Do I have enough time?' 'Cause I only had like two weeks before the film started to absorb it, and luckily because of my experience of impersonating people, I was able to acquire that skill," he said. </div> <div> His acting career began with a small part in the 1991 film "My Own Private Idaho." (He landed the role of an airline clerk by fooling casting agents into believing he was a recent Italian immigrant.) He appeared in a handful of other films, including "Diggstown," "Wyatt Earp," "The Rock" and "G.I. Jane," before winning critical acclaim in Terrence Malick's "The Thin Red Line" He recently appeared in Ang Lee's "Ride With the Devil." </div> <div> Caviezel's upcoming films include "Madison," a true story about the economically depressed community of Madison, Ind., and the town's desire to win a Gold Cup hydroplane race. </div> <div> Did he always have the acting bug? No, he says. "Never had it. I did voice impersonations growin' up, but all I did was play basketball. That's what my goal was. Then I tore my foot up. I wanted to play in the NBA so bad. I went to camps all summer long. I was always seen with a basketball. My fingers were always cut up 'cause of the wear of the ball on my fingers during the hot summer days of playing on the pavement. My whole room was completely covered in sports, everything. </div> <div> Why does he compare his upcoming film "Madison" to the basketball film "Hoosiers"? Says Caviezel: "It's like `Hoosiers' on water is what it is. ... It's about the Gold Cup race and this guy, what he was willing to sacrifice, and this town, they supported their own boat and they still do. They compete against ... Budweiser, all the big companies, and this town scratches money together and puts their boat on the circuit. </div> <div> And his feelings when he saw "Frequency" for the first time? "I was proud of the film. I just love the film. ... It's got so many things that you can relate to. ... It's your love for something and what you are willing to do in that moment to save that person's life or speak your mind about something and not quitting, and so I recognize that in John Sullivan, and how much that I love my own father and mother. </div> <div> What drew him to the film? "The father-son story. ... I'm very close to my dad. ... And that was carried through in the film. In the scenes where I'm talking to my father, there was nothing written in there that said, `OK, John Sullivan gets very emotional here.' It just happened, which gave a real quality to the story.(AP) </div> <bR> <bR> <bR> </td> </tr></table></body>