Sunday, January 1 1995
'The fame thing,' says fictional megawatt movie star Anna Scott, 'isn't really real.' And she should know, since she's played by real-life megawatt movie star Julia Roberts. The fame thing often does seem unreal to people who don't live it, so it's comforting to hear from Anna (or Julia) that it seems unreal to her as well
Rather than pretending objectivity and maintaining an observational distance on its subjects' legal and environmental problems, 'Nuyorican Dream' takes a stand that is overtly political, emotional, and moral, but never moralistic.
Perhaps LaBute's willingness to let the audience close enough to his characters, both psychologically and physically, to appreciate such minor-key modulations, is the movie's biggest surprise.
Arriving in theaters five years later, Next Friday is the kind of sequel that will elicit much grumping from critics and other people who purport know what's good for you. The problems with the film are obvious -- like all sequels, it's designed to make money.
In The Ninth Gate, perennial provocateur Roman Polanski throws in his contribution to the millennial apocalypse/Armageddon/hell-on-earth films that have recently been such a staple of the action/adventure genre.
Jack's ultimate epiphany is in keeping with the themes that usually apply to Burton's benevolent losers.
Zhang Yimou's new film, Not One Less, feels like a movie that, somehow, I am 'supposed' to like, and I am not just a little bit anxiety-ridden in admitting that, really, I think it is actually somewhat dreadful.
I first saw Gregory Nava's intensely beautiful and painful El Norte when I was sixteen or so. My mother's sister had a copy of the film and she made the entire family watch it, one by one.
I must admit, against all my better judgment, I actually rather enjoyed Madonna's new film, The Next Best Thing.
In 'Monkeybone', we are given visual representation of (presumably) every man's internal struggle, between his social conscience and his unbridled testosterone frenzy.
Here the past is not dead or inert, it always influences the future... 'Malena' recognizes the futility of its own nostalgia.
To aid him on his travels, Bobby (Jon Favreau) takes Ricky, his childhood friend, boxing partner (they're introduced fighting each other in some cheap venue, for piddling money), and notorious fuck-up. Ricky is played by the affable (when not bar-brawling) Vince Vaughn, who also produced 'Made', and who, in 1996, starred with Favreau in 'Swingers', the film that made them both bankable properties.
Instead of being innovative, 'The Musketeer' is appropriative and (save for the very clever fight scenes), straight-up insipid.
'Monster's Ball' leans heavily on Southern Gothic torment and metaphor, as well as bizarre, if historically framed, circumstances.
Maybe Baby's sight gags are sometimes hilarious and the story is often engrossing. But the execution falls flat.
No matter how hard he tried, Méliès could not put aside the role of conjurer.
Like many of his other works, 'Mulholland Drive' has a dream logic, whereby characters morph, metaphors are made literal, and a stylistic fluidity juxtaposes with a disjointed narrative structure.
When Kersten (Anders W. Berthelsen) courts material success in Copenhagen, he also captures his wealthy boss's daughter, Claire (Sofie Grabol).
I imagine that at the 'real' Moulin Rouge, the thrill wasn't just a bit of nipple and a flash of panties, but the whole entertainment package, which no doubt included exuberant 'daring' new music intended to shock and titillate the sensitivity of the bourgeoisie -- kind of like rock-and-roll or punk in our times.
The storyline develops as we know it will. Except for one thing: the primary couple is DeNiro and Stiller.