Sunday, January 1 1995
This is a playful film that does not ask the viewer for sustained reflection, but rather, to take delight in the images on the screen. Hey, I've always been a sucker for those Robert Doisneau pictures.
It's not news to anyone that Steven King screen adaptations get tossed into two categories: absolute crap (Maximum Overdrive, Cujo, Pet Cemetery, et. al.) and important American cinema (Stanley Kubrick's The Shining and Frank Darabont's previous King adaptation, The Shawshank Redemption).
It is clear about what it is, a study of affect that is also affected.
Sam Raimi's new scary movie isn't nearly scary enough.
'The Glass House' can't manage its own metaphors, and ends up tripping all over itself in order to give them a coherent context.
Karyn Kusama's debut feature takes you along this road with Diana slowly and carefully, showing you her body, her character, her hope, her possibility -- as she builds it, with bruises and setbacks along the way.
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.