Sunday, January 1 1995
The first scene in Leon Ichaso's biographical film, 'Piñero', sets up a complex series of relationships between the artist and his demons -- or more pointedly, between the artist and the various audiences he sought to influence and astonish.
As Tim Burton's new version of 'Planet of the Apes' demonstrates in many ways, some subtle, some not so, the recycling of cultural milestones is not simply a marketing device, but a way to rejuvenate cultural mythology, be it science fiction or religious fable.
The camera pans across the protest scene focusing briefly on a placard in Spanish but conveniently translated to English in subtitle: 'Shoot the Imperialist Bastards.' This sudden interjection is startling, set against a backdrop of relative fluff.
Signaling death and dryness, the flies also mark transitions from one location to another: everywhere, it seems, someone is dead or dying.
Tim Burton should never have been given this assignment. There are no humans in his films, which can impress, but never move us.
The road trip then becomes an occasion for an extended game of relationship chicken: is Josh going to grow up and commit or is Emily going to accept him and stop criticizing?"
Pearl Harbor's endorsement of military ideals and barely submerged nostalgia for the war's anti-Japanese racism only abates for a half hour of stunningly rendered shoot-em-up as the Japanese attack on Pearl Harbor and its surrounding airfields takes place.
The spirit of world class schlock-horror promoter William Castle was in the theater recently, during a preview screening of Pitch Black, as flashlights were given to a number of audience members.
Panic, written and directed by Henry Bromell, is the latest in a recent series of films about middle-aged white men in the throes of mid-life
Where the story of Pollock's life gets, at least to me, most interesting, and where the film 'Pollock' becomes most engaging, is in the connected story of the artist's wife, Lee Krasner.
What happens when you find yourself watching an ostensibly 'gay movie' in which only one gay character appears, and in a secondary role?"
Price of Glory opens with a boxing match in Phoenix, Arizona, 1977. While the mostly Mexican/Latino ringside crowd yells and hoots, a young man takes a terrible beating. His trainer urges him on, his face is bruised and panicked, and the scene lurches into that boxing film cliche, the eight-frames-per-second knock-out punch: his jaw contorts, his blood flies, and he hits the floor.
There is no doubt that future generations will benefit from Epstein and Friedman's efforts to preserve on film, in one survivor's words, 'uncomfortable memories' that history has almost completely erased.
...reminds us that we may not be the end product of some divine plan, or necessarily very important to the universe.
Sometimes it’s hard to say when a film goes wrong. It may be a brief image that looks out of place or bit of
Two grown men, best friends and romantic rivals, beat the shit out of each other for money. It doesn’t sound like much of a
Where 'Run, Lola, Run' was fast and urgent, 'The Princess and the Warrior' is deliberate, almost meditative. Still, the two movies share common, provocative ideas about fate and passion, the nature of time and the rhythms of life.
Nick Cave's The Proposition blends equal parts Walkabout and Sergio Leone's grim atmospherics to illustrate the brutality of imperialism.
In a coincidence I assume is meaningless, Das Boot has bubbled up twice this summer movie season, after snoozing for close to 20 years. First evoked
By far, the best Pokémon battle in the film is between Ash's sidekick Misty (Rachael Lillis) and the orphaned Molly: in 'Pokémon 3' girls can kick ass too.