Recap: If an obvious crazy man told you he seen a murder, would you believe him? Romulus aka the Caveman live in a cave in a park in New York city, hence his nickname, convinced that there is an evil dictator living at the top of Chrysler Building. When another homeless man turn up dead, frozen to death, just outside his cave, Romulus is convinced that it is connected to this dictator. No one believes him of course, not even his police daughter. But Romulus get's a lead to a famous photographer, in search for evidence and to gain his daughter's respect.

Comments: Samuel L Jackson is always good, no matter what. And in the Caveman's Valentine he really gets a chance to act in his typical, somewhat bombastic style. The story is an interesting one where there is a real unusual hero. Romulus is crazy, for real, and there is no doubt about it, he's not just a misunderstood genius. He is genuinely crazy, and his inner monologues add as much to the story as his interaction with other characters.

The story is divided in two, Romulus inner struggle and the possible murder. They are very much connected, even though their goal is different. But the writing is very good and balanced as no part takes over.

In the end the murder story is good, but not great in any way. Good enough to keep interest and give stage for a really good performance of Jackson.

6/10

Romulus (Samuel L. Jackson) lives in a cave in New York -- well, okay, a "rock enclosure". He's psychotic, but he's also a gifted composer who studied at Juilliard. Decked out in dreadlocks and equipped with a passionate growl, Romulus tells all who will listen - and some who don't want to - that the man who put him in his position in life lives at the top of one of the city's tallest buildings. Whether this man is a real person is never made clear, but Romulus's rage toward him certainly isn't. He also hallucinates that his late wife is giving him advice and what-for, and that there are things in his head that tell him what to do. Yes, by almost any standard, this guy's a little wacked in the head. On Valentine's Day, Romulus looks outside his cave and sees a young man frozen to death in a tree. The police, after investigating, determine that the man wasn't quite in his right state of mind (since he was hardly dressed for winter and had been seen running around in that attire); but Romulus is skeptical, since a friend of the dead man claims a famous local avant-garde artist, David Leppenraub, killed him. Romulus's estranged daughter is a precinct cop, but of course she won't listen to the ravings of anyone, even her dad. So he sets out to do his own detective work. This does make for an interesting movie, especially since Romulus's prowess at the piano makes a few appearances. But other than Romulus himself, this isn't much more than a standard detective story, one in which the 'detective' isn't even directly involved with the crime.

Jackson is the entire show here. Just like Jodie Foster in Nell, Dustin Hoffman in Rain Man, and even James Belushi in Homer and Eddie, a character with severe mental issues is the main focus. But unlike those other characters, Romulus actually uses his 'deficiencies' to help him solve the murder. It's not as if Jackson puts up a sign - "I am deranged, therefore I am turning in a magnificent performance". Too often, actors (not necessarily those named above) use a mental handicap as a crutch for their character. This really isn't the case with the gifted Jackson, who performs exceedingly well, giving a powerful, galvanizing performance. Each word is dripping with energy. Even if the character of Romulus wasn't intended to grip you by your conscience, Jackson's work would have done the trick. Usually, one can detach oneself from a movie, kind of watch it from afar, maybe even guessing ahead who the killer is. But Jackson's so good, you can't really do that. You become his pal, and you hope things turn out okay.

The thin line between genius and insanity is examined in this story of a gifted man estranged from his family and separated from his vocation by his seemingly unfounded paranoia. `The Caveman's Valentine,' directed by Kasi Lemmons, stars Samuel L. Jackson as Romulus Ledbetter, a former Julliard student, talented composer and pianist who now lives in a cave near a park in New York City. Romulus treads that delicate line between reality and fantasy, his thought process interrupted by the `moth seraphs' that live within his head, but even during his most rational periods the demons of his delusions plague him incessantly. He alternately recoils from and stands boldly upright against the presence of the towering skyscraper (the Chrysler Building) wherein resides the `Big Brother' of his imagination, the man responsible for his present state of being, a man named `Stiverson.' But then again, is it really only in his imagination?

In his cave, Romulus has an unconnected television set he watches, which keeps him abreast of the latest `lies' concocted by those in power and foisted on an unsuspecting public. He lives alone, but is well known on the streets for his vociferous ranting and railings against Stiverson and those who seek to subjugate those like himself, those who haven't the strength or the power to stand up to them. Then one day, in the dead of winter, Romulus emerges one morning from his cave and finds something in a tree just outside. And what he finds sets him upon a quest that will prove to everyone once and for all that he is not crazy, that Stiverson and the others exist and are what he says they are, and if he is successful, he will finally have the proof. Now if he can but stave off his demons and maintain lucidity long enough to do what he must do; he is adamant, but just as he is beginning, `they' introduce their newest weapon which they wield in a soft, green light, the `Z-Rays.' Romulus, however, is frightened but not deterred, and more determined than ever to expose Stiverson for what he is.

Kasi Lemmons, who made an auspicious directorial debut in 1997 with `Eve's Bayou,' presents this complex story with a stylistic and artistic touch that at times evokes the spirit of Fellini (as with the `moth seraphs' sequences which she uses to great effect). She quickly establishes the character of Romulus and sets a pace that allows the mystery to escalate as the story unfolds. Her approach succinctly captures the paranoid world inhabited by Romulus in his own mind, and she plays on his sudden erratic behavior and the unexpected turn in the middle of a scene to build an underlying tension that makes the drama all the more riveting. Most importantly, she manages to go beyond what is happening in the film to convey the true essence of what this story is all about, with insight and an obvious and incisive grasp of human nature.

Samuel L. Jackson gives a dynamic performance as Romulus, who has a tendency to lapse into quiet moments, but guards against them as if they were a threat to his safety. Afraid to let his guard down, he fights his fears with anger and bravura, but clearly that's not who this man really is, which Jackson communicates quite effectively. There's nothing feigned or pretentious about this character, and Jackson takes him from a rational moment into madness seamlessly, which adds to the credibility of not only Romulus, but the entire film. This is not a man to whom you will be able to relate directly, but there are certainly elements of his situation to which you will readily be able to sympathize. Romulus is a thoroughly complex character, and Jackson realizes those complexities with insight and realism.

Also outstanding in one of the smaller, but pivotal supporting roles in Anthony Michael Hall as Bob, the bankruptcy lawyer who encounters Romulus and somewhat indirectly facilitates his mission. Hall has matured as an actor, and this is probably one of the best roles he's had since his youthful efforts in such films as `National Lampoon's Vacation,' and `The Breakfast Club.' Ann Magnuson also gives a noteworthy performance as Moria Leppenraub, the sister of artist David Leppenraub (Colm Feore), who is something of a free spirit and becomes involved with Romulus when certain circumstances lead him to David. Magnuson has a certain charismatic, Shirley MacLaine-like quality about her that makes her accessible and easy to watch, and she is very believable here as Moria.

Rounding out the supporting cast are Tamara Tunie (Shelia), Damir Andrei (Arnold), Aunjanue Ellis (Lulu), Peter MacNeill (Cork), Jay Rodan (Joey), Rodney Eastman (Matthew) and Kate McNeil (Betty). A thought provoking, emotionally involving film that is exceptionally well presented and acted, `The Caveman's Valentine' has something to say about the diversity of a society in which everyone has a place, no matter what they may appear to be, and the fact that absolutely no one should ever be dismissed out-of-hand. It says that there are no `throw-away' people; that the value of an individual often cannot be measured until confronted with extraordinary circumstances, for it is that which brings out the best and drives someone like Romulus to exercise the latent capacity which lies within. One of life's lessons, told here with a profound clarity by Lemmons, through a medium that is the magic of the movies. I rate this one 9/10.