Sunday, January 1 1995
Zoolander's parody of the fashion industry is a pretty pointless endeavor, for the simple fact that ultimately, it parodies itself.
Y Tu Mamá También is all about how we shape the details of living, despite and because of this risk.
With 'Yi Yi', Edward Yang accomplishes what so few films (U.S.-made, in particular) even strive to do: present an earnest depiction of familial relations.
In fact, when Terry describes Scottsville as a town full of 'dull, narrow people... with no perspective, no scope,' he might have been describing the film's characters.
In 'The Yards', Mark Wahlberg again plays an emotionally damaged young tough, but this time his entire environment is orchestrated to reflect that character, dark, sad, and heavy with non-options.
Boys and girls are dressed alike, singing in unison, sitting rapt before a movie screen that shows glorious war footage, the triumph of good over evil. These early images in Joan Chen's debut feature, Xiu Xiu, the Sent Down Girl, set the scene i
Beware the genesis of a new movie franchise, namely, X-Men, adapted from the best-selling comic book series of all time. Comics aficionados have been awaiting
X's whole theology -- to the extent it can be deciphered -- is airlessly pessimistic.
There are great films; some of them win Oscars. There are truly bad films; some of them attract cult followings. Then there are mediocre films.
Martin Lawrence and Danny DeVito are doing that non-mating mating dance that buddy characters tend to do, with too much spastic energy and not nearly enough inspiration.
Waking the Dead opens with a television image. In 1974, young Fielding Pierce (Billy Crudup) is watching the news, when he sees that his girlfriend Sarah (Jennifer Connelly) has been killed in a car bomb explosion (reportedly engineered by 'terrorists,' that all-purpose contemporary cultural monster).
Thank god for Joan Cusack. As the sole truly cynical character in TV producer Matt (Roseanne, A Different World) Williams’s feature film directing debut,
Hey there. If you find yourself pushing on past middle age and wondering why all your potential has only gotten you just where you are and not one iota farther, then Curtis Hanson's new film Wonder Boys may be your sunset tonic.
All of these elements combine to create a contemporary fairy tale where the purpose is not only to invoke a nostalgia for the warmth and simplicity of childhood or perhaps the soothing powers of food, but also to address, however whimsically, sex and gender politics.
The Wisdom of Crocodiles begins with some breathtakingly handsome images. So striking and unusual, in fact, that it’s only toward the end of the
The Wedding Planner's many compromises between eras, between genres, between color palettes -- never really take you anywhere, except, perhaps, a place where everything has turned kind of beige.
“For the record, I’ll call myself Mr. Parker, and my associate will be Mr. Longbaugh.” By the time Parker (Ryan Phillippe) names himself, about
Soon enough, they're locked in an opposites-attract sort of love affair, translated to a few scenes in which she behaves wildly in public and he discovers wild sex. Who knew this wussy guy was such a tiger in the sack?">
You’d better look out your window, not too obviously, but very carefully. He may be watching you. He’s out there, always out there,
Curtis Hanson's Wonder Boys is very much concerned with the boys its title declares (or, rather, with a certain sort of boyish behavior). More to the point, it actually seems to wonder, as we do and as the characters do, what is to be done with them.