Sunday, January 1 1995
'Urbania' is all about stories, how they're told and how they are received, who shares and who withholds, or what anyone might mean by telling a story.
A Nazi U-boat commander, peering through a periscope, locks a merchant ship in his sights. After giving the order to fire, he studies the ship's flaming wreckage and proclaims that the crew has succeeded in breaking her back.
What it gets you thinking about, while you watch it and for some time afterwards, is whether anyone can ever know what has 'happened,' and more disturbingly, how the tendency to want such knowledge can be violent.
Steve Everett is an old-school newspaper reporter, the kind who has improbable hunches that turn out to be right, who gives investigative reporters a good name, who's relegated to fiction these days. He's also more complicated than that, a self-styled macho boozer and womanizer, but recently slipped into another state, feeling confused and a little pathetic.
Instead of making bold political statements, 'Drunken Horses' shows how its characters -- and the people they represent -- suffer, yet endure.
There are lots of men in Thirteen Days. Upstanding, committed men, wearing somber suits, short haircuts, and serious looks on their faces. And serious they
Trippin’ opens with an impressively choreographed song and dance number, carefully emulating a Hype Williams rap video. Player’s in his big white house, laying
'Tomcats' is a morally reprehensible film about bad people behaving badly.
This spectacular image of androgynous, self-stimulating sexual excess speaks directly to the wonder and threat of Lara Croft, so adept at masculine and feminine wiles, and every wile in between.
At the end of Don Bluth and Gary Goldman’s animated Titan A.E., after the ragtag group of humans have saved themselves and found
The camera moves gracefully through what is clearly a young boy’s room. It’s not just any young boy’s room, but that of
Movies are such a vital part of our culture. We go to the cinema, we rent videos, and even basic cable provides one or two movies at any given point in every day. So it's getting downright crowded out there in movie land, and therefore harder and harder to come up with something original.
For an unabashedly hyperbolic black gangsta comedy, 3 Strikes includes far too many moments that ring true.
Plausibility is plainly not Training Day's concern. It's more interested in images and ideas than practicalities.
British director Mike Leigh has turned out a string of critically lauded short and feature length films, as well as a number of television films
One year ago, 50,000 citizens took to the streets of Seattle to protest the first meeting of the World Trade Organization to be held in the
midst all the hoopla shouting of the probable Oscar proliferation showering upon The Talented Mr. Ripley; the ongoing comparisons (of the original series of novels by Patricia, the French film Purple Noon, and Anthony Minghella's creation); and glowing appreciation for Minghella's assembly of the most fashionable young and beautiful, there lie hidden a few very nasty notions regarding homosexuality.
All this symbolism would be quite impressive, actually, if 'Tomb Raider' ever gave the slightest impression it knew where it was going with it or was eventually planning to use these symbols to say something coherent.
Puke green bile, dark blood, convulsing pink. tissue. A close-up shot following a bullet's path into and through internal organs is a frankly terrible image. In most war movies, bullets do tend to fly. But you only see their external effects: blood spurts, faces contort, handheld cameras zig and zag, explosions-effects create aestheticized, often slo-mo, chaos. In David O. Russell's Three Kings, however, you see the insides: the bullet rushes forward, stops, lodging in mangled, throbbing flesh while fluids accumulate. It's visceral and immediate. It's surreal and nasty.
The characters remain oblivious through much of 'Thirt3en Ghosts', and for that, they might count themselves fortunate.