Sunday, January 1 1995
The directorial debut of actor Edward Norton, Keeping the Faith wastes his considerable talents and those of his co-stars on a script that cannot hold many surprises for anyone who has been to the movies in the last quarter-century.
They hold this discussion against the backdrop of a couple of dead bodies, one hanged and still dangling, the other in a cage suspended from the same scaffolding. The meaning is clear: life (and death) in this time and place kind of sucks if you're not of 'noble birth.'"
If these characters are tedious, what is most annoying about 'Jeepers Creepers' is The Creeper itself. Call me old-fashioned, but I prefer my slasher flick psycho killers to be decidedly human.
the imagery in 'Jackpot' is gorgeous, detailed, crisp, and just slightly heightened, in a video-grainy-grim kind of way.
A girlish figure skater glides across the ice, accompanied by a sorrowful Puccini aria. A young man (this is Julien, played by Ewan Bremner, best known in the United States as Trainspotting's hapless Spud) runs through snowy woods, his breath coming in gasps.
'Josie and the Pussycats' is 'so' witless that I cannot imagine it finding an audience even in a country that made 'Tomcats' (this has been a bad month for films with cats in the title) a top-five grosser.
Janger and co-writer Jennifer Vandever's screenplay ultimately compromises its sexual politics in order to make the film both gay- and straight-friendly. And yet, 'Just One Time' still has an underlying appeal due to its terrific ensemble cast and Janger's talent as a director, able to handle the film's occasional shifts in tone, between the more serious moments shared by Amy and Anthony, and the lighter touches of comedy, such as the guys' excursion to the gay bar.
With a final polish, 'The Journeyman' might be a feature debut as important as Robert Rodriguez's 'El Mariachi'. Kick ass.
As demonstrated by artists as different from one another as Eminem, Blink-182, and Andy Dick, there are many jokes to be made at the expense of the current crop of pop stars.
Joe Gould (Ian Holm) is what they used to call a 'character.' You see him early in Stanley Tucci's film, scuttling into a diner where New Yorker writer Joseph Mitchell (Tucci) is having coffee.