Sunday, January 1 1995
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.
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.
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.
A movie which states that it is the first movie spells doom in my mind. I shudder at the thought of several sequels to this flick. (Why, exactly, can't everything Pokemon fit into one movie?) But, in part because the title refers to Mewtwo, a name indecipherable to anyone over ten, I realize I had better accept the fact that this may be a generational shift. Even more clearly, I see it is a fad that won't die soon and decide to brush up on my Poke-vocabulary.
If we believe all that Philip Kaufman's 'Quills' has to tell us about the man, Sade is much more than a randy aristocrat -- he is a champion of free speech and artistic integrity.
In On the Line, Kev (Lance Bass) is bland as can be, an unfortunate condition for a romantic lead.
Initially a rather deft and timely exploration of the human consequences of the politics and business of drugs, by the end, 'Our Lady of the Assassins' is content merely to linger on the spectacle and eroticization of casual violence.
In the Glasgow, Scotland harbor, on a cloudy windy morning after a storm, a man's bleeding body floats on a frail piece of wood. For all its artsy beauty, this poster image for Orphans, the writing and directing debut of actor Peter Mullan, is misleading, for it depicts perhaps the only serene moment in the film, one that interrupts the stabbing, shooting, screaming, inclement weather, and other calamities that rage on as four grown-up siblings mourn their mother's early death.
It's a Depression-era musical laid on top of a chain gang escape film, inspired at once by Homer's 'The Odyssey' and Preston Sturges' screwball comedies. But outrageous as it might seem, this ultra-high-concept project suffers from a lack of inspiration.
This is easily O's most cogent insight, which it hits hard and insistently -- the ways that longstanding cultural anxieties about race in the U.S. continue to affect young people's individual and community relationships, just as it affects adults.