Sunday, January 1 1995
During opening week for The Wood, MTV ran a game show based on the movie or more precisely, based on promoting the movie, as it
One of Ingmar Bergman's best films and certainly one of the best ever made on the subject of aging.
Occasionally, a movie comes along that attempts to remember the '60s as a time like all others, with competing ideologies, and both good and bad effects.
Though some viewers might not compare producer-director Keith Gordon to John Huston as adaptors of literature to film, Gordon makes films which are regularly praised for their 'faithful' transfer of literary texts.
Interpolations Waking Life begins with two kids (Trevor Jack Brooks and Lorelei Linklater, daughter of the film’s director Richard Linklater) playing a paper hand-puzzle
I can't help it; whenever I hear that opening theme music to a James Bond film, I get a tingle. I can't help but to hope for the best. This time out, my hopes were raised by a great opening sequence to The World Is Not Enough, which involves a thrilling highspeed boat chase. What's more, TWINE gives us the premise for a most excellent villain.
WARNING: The following review contains spoilers. Executing Reality The poster advertisement for Warner Brothers’ current release, The Whole Nine Yards, reads “Life’s a comedy,
While Whipped's general organization -- three guys competing for one woman, all knowing about one another, all showing up at her apartment at the same time -- is pretty much directly ripped off from Spike Lee's groundbreaking She's Gotta Have It, here the focus is not on the she, but the three he's.
As both a parody and a 'straight' summer camp comedy, 'Wet Hot American Summer' has little to offer even the most die-hard crude comedy fans.
Forces of nature make for excellent movie villains. Twisters, storms at sea, icebergs, earthquakes, wild rivers full of snakes, volcanoes -- they're all big, bad, easily recognizable bullies, mainly because, by definition, they never pick on anyone their own size.
The most skillful purveyors of horror and suspense narratives recognize one incontrovertible fact: we fear the banal.
Rather, it only suggests that when something beautiful comes your way, you should hold onto it for as long as you're able.
Valentine's message is that women who overstep their bounds deserve physical, motional, and sexual abuse, because of how they perpetually victimize men. And so, what is actually scariest about 'Valentine' is the film's tacit attitude that these girls had it coming.
And yet, for its many pleasures, I find myself conflicted in thinking about The Virgin Suicides.
It's hardly a new idea, to read into adolescent girls' suicide something poetic, passionate, and deeply meaningful. Neither is it a secret that countless girls have admired Sylvia Plath and Anne Sexton, Joni Mitchell and Tracy Chapman, seeing in their wounded and inviolate art reflections of themselves, their own pain and enchantment.
'The Vertical Ray of the Sun' [begins with] the quiet wonder of a morning that is not rushed, allowed to unfold itself moment by gentle moment.
Unlike currently popular representations of prison -- say, your average Sly-Stallone-type-in-prison movie or Tom Fontana's justly celebrated HBO series, 'Oz', made dazzling with acrobatic camerawork and fast-cut editing -- 'The Visit' is unflashy, almost to a fault.
'Unbreakable' might be best described as 'Die Hard' for art-house audiences.
There's not much in this film that's subtle, but it does actually have something thoughtful to say about the ways that we perceive and assume truth, or the ways we might be convinced of some untruth because of our own anxieties. What you see can be -- and usually is -- deceiving.