Sunday, January 1 1995
For all of Godzilla 2000's noisy, confused symbolism, its central message is as clear and simple as it was when the series first got underway: what's inside can kill.
The real subject is the street, or rather, the street as a cultural concept, simultaneously brutal and beautiful.
The invasion is not from without, per se, but from, and, as Ripley noted so insightfully in 'Alien 3', 'It's a metaphor.' And when 'Final Fantasy' pauses to engage this question, most notably in Aki's dreams, it's onto something.
The Canadian-based filmmaker Atom Egoyan has taken a different approach to the serial killer in his new film, Felicia's Journey. There's not much here that you would call sensational, no decapitated corpses, no flayed flesh, no nymphets taking ominous phone calls. Rather, the movie follows two characters, neither particularly introspective or self-aware, and both feeling nostalgia for what never was.
Everything about Final Destination probably looks demented, if not downright silly. If you've seen the trailers playing for a couple of weeks now on youth-oriented TV, you will have seen the lame plot (a kid keeps his friends off a plane flight doomed to explode), ooky wind and thunder effects, the sweaty-faced and way too pale teens, and most effectively, Tony Todd's ominous rasp, 'You can't cheat death!'"
Given Frequency's premise -- a son talks to his father who's been dead for 30 years via the old family HAM radio -- I didn't have much hope that the film would be good.
Every woman in '15 Minutes' is a function of the film's overriding theme, that tabloid culture is all about getting a rise out of otherwise cynical cops and villains, reporters and viewers.
'From Hell' is the story of a disturbed man on the trail of a madman -- an exploration of the minds of killer and the man sent to stop him.