Sunday, January 1 1995
In 'Riding in Cars', Barrymore plays to her strengths -- her ability to seem at once disarmingly open, as well as poised, ironic, and above all, delighted to be living her life.
A car drives through a bridge and dark city streets, passing the freeway sign 'East Bay Bridge, Oakland' on the way. A blasting hip-hop soundtrack accompanies opening film credits in overlapping English and Chinese characters.
Andrzej Bartkowiak's current film Romeo Must Die, which features the incredible martial arts skills of Jet Li, left me a little depressed.
Kurosawa achieves an almost perfect fusion of storyteller and painter.
The narrative heart of Return to Me beats in rhythm with the tension between surface (what's on the outside) and depth (it's what's inside that counts).
Like most sequels, 'Rush Hour 2' does what the first film did, only louder and more extravagantly.
It might be expected that the new film by French feminist director Catherine (36 Fillette) Breillat, Romance, is generating more discussion about its shots of pricks and nipples than its narrative or themes or performances. This is a little ironic, because the movie really isn't about erotic arousal or exploitation. In fact, it is, as its title suggests, about romance. Or more precisely, it's about the expectations, disappointments, and power dynamics that shape and destroy romance.