Sunday, January 1 1995
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,
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
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.
Renowned Korean director Im Kwon-taek presents a traditional Korean legend in Pansori (solo opera) style, in which a singer (Cho Sang-hyun), accompanied by a drummer (Kim Myung-hwan), sings the story of a forbidden love set in 18th-century Korea, between Mongyong Lee (Cho Seung-woo) and Chunhyang (Yi Hyo-jeong).
Cast Away, the new movie directed by Robert Zemeckis and starring Tom Hanks, follows the life of Chuck Noland (Hanks), an over-achieving efficiency expert for
Passer expertly laces this compelling character study with all the intrigue and narrative complications familiar from classic 'film noir' of the 1940s and '50s.
Feel-good movie? Yes, this good old-fashioned serial killer/slasher flick should send everybody home feeling good about U.S. culture and about human nature. If
Coming on the heels of Thirteen Days, Company Man is the latest look at the troubled relationship between the United States and Cuba. Whereas trailers
One doesn't need a Kung Fu Cinema background to enjoy 'Crouching Tiger', but it helps in appreciating how the movie builds on -- and arguably surpasses -- that rich cinematic tradition.
You haven’t lived until you’ve seen Drew Barrymore moonwalking to “Billie Jean.” This isn’t to say that you absolutely need to run
Near the end of Nicholas Hytner’s ballet dancers-in-love film Center Stage, up-and-coming dancer and star of her class Maureen Cummings (Susan May Pratt) finally