Sunday, January 1 1995
The storyline develops as we know it will. Except for one thing: the primary couple is DeNiro and Stiller.
The social/political commentaries . . . are still relevant and imaginative, and the inventive physical and verbal humor is still the stuff that bladder accidents are made of.
'The Mexican' follows the turbulent near-end of the relationship between hapless Mafia gopher Jerry Welbach (Brad) and his obsessive, psycho-babbling girlfriend Samantha Barzel (Julia), who reduces everything in her life to 'blame-shifting' and others' inability to express their emotions.
Modulations looks at the hyperreal world of global rave, house, trip-hop, and experimental electronic culture, featuring a cast of the most revered DJs and producers, journalists and fans-on-the-street, stars and some lesser-known artists.
She's the perfect drag queen, embodying the ruthless paradox of entertainment. She is the show that must go on and cannot.
So disappointing because of the unfulfilled promise of a firm stand on news broadcasting and the media.
Far be it from me to accuse Hollywood of wishful thinking. But as the closing credits for Man on the Moon roll under Andy Kaufman's (Jim Carrey's) timid gaze, it's easy to think the film has been seduced by its own notion that a life of sufficient celebrity can offer freedom from the mortality that afflicts ordinary souls.
Everything in 'The Mummy Returns' is bigger and more expensive, from its impressively enormous matte shots and massive armies composed of thousands of digitized soldiers, to its great swirling sand effects and outsized characters.