Sunday, January 1 1995
What is it about food movies that makes critics and arthouse audiences drool?.
And so, here comes Mr. Rock, invading the white folks' world with something approximating a vengeance.
There's something satisfying about watching a beleaguered woman get revenge on a lowdown-scumsucker of a husband. True, there's also something satisfying about substantive characters and plots without whopping big holes in them. But you can't have everything.
We're stuck, 'Dr. T & The Women' seems to say. Men and women: this is simply how we are.
Pierre Morel's film maintains a healthy tension, as Damien believes in 'the law' and Leïto is never convinced of its efficacy or good intentions.
It seems only a film as schizophrenic as 'Dancer in the Dark' would suit Björk, what with its melancholic moments of quiet and curious explosions of sound.
With all this avowed dedication to D&D, its values and ethics, its alternative vision of a utopic world, and all the time it took Courtney Solomon to secure funding for the film, you would think he could have come up with a much better movie than the one we see here.
That said, as I understand it, the game has long been invested in a vague racial equality, though in the film this translates mostly to elves and dwarves taking sides with the boy-humans against those tiresome, self-aggrandizing Mages.
Imagine this: Freddie Prinze, Jr. is lip-synching Barry White’s “Can’t Get Enough of your Love,” with spoon-as-mike in hand. In a reverse shot, Julia Stiles…
Bruce Willis has a good eye for little boy screen partners. Where last year’s The Sixth Sense granted the erstwhile action star precious quality screentime…
The Discreet Charm of the Bourgeoisie has lost none of its relevance or power, and is well worth seeing again on the big screen, if only to remind ourselves how good it is not to be unscrupulously comfortable.
The last 'Dolittle' film was a successful commercial film. The trouble is, the sequel is a far less noble beast. Many of the beats (and beasts) from the first film are here too, but despite being written by Larry Levinson, one of the co-authors of the first script, it just doesn't work as well.
Tim Robbins has never been shy about being one of them damn Hollywood liberals -- pro-union, anti-death penalty, solidly Green, married to Susan Sarandon.
In 'Cats & Dogs', the colors are a little too bright, everything is a bit too perfect. And all is not as swell as the humans would think: it's 'American Beauty' for pets.
More often than not, when transforming a once-popular TV series into a movie, filmmakers try to update the style, pace, and attitude of the original…
Set in the 1930s and '40s, The Cider House Rules has a typically Irving-ian sense of scatter: the years sort of drift by, characters are sundry, and themes are vaguely related to each other. It could be that the film is concerned with the chronically troubled relations between parents (or their substitutes) and children...
'Corky Romano' is a limp, set 'em up and knock 'em down barrage of hijinx and horseshit that proves definitively that Chris Kattan's shtick is barely big enough to carry a 90-second trailer, let alone a 90-minute movie.
It's a confrontational, if manipulative, style, never offering excuses for Chopper's behaviour. There's no obligatory flashback to an unfavourable childhood. There's no real evidence of the influence of drugs. He is who is because he is. That's it.
The film's narrative unfolds slowly -- too slowly at first.