Sunday, January 1 1995
If 'All Over the Guy' is any indication of what Hollywood has in store for gay relationships, it looks like gay men and lesbians will be receiving the same shallow treatment as their heterosexual counterparts.
'Apocalypse Now' -- 'Redux' or regular -- is well worth seeing for just such insights, its flashes of brilliance, failures, and virtuous intentions. In both versions, it's that rare movie that looks hard at the culture that produced it.
And yet, for a rock 'n' roll film set in the '70s, Almost Famous has surprisingly little sex and drugs on screen (though both are much discussed). Even when two or three of the 'band-aids' decide to deflower William, mainly to alleviate their boredom, it comes off more like a slumber party game than an act of real sexuality.
Morgan Freeman's sober mien and formidable presence make you wish that the rest of the movie would keep up.
Snow. Wind. Emptiness. The first images in Affliction are white and desolate. They show late October in small town New Hampshire, and Halloween is descending on frigid, early evening streets.
It's grand, being so proficient at killing, and it's pretty darn All American too.
...plays like a Hollywood version of 'The Real World', neatly edited and set in a striking but sterile home, but with few surprises.
'Apocalypse Now Redux', ultimately, allows us to celebrate a film that has become indelibly ingrained into American popular consciousness while, at the same time, forcing us to question the violence and inhumanity that characterize the troubling past of this same culture.
There are no songs in the latest Disney animated feature, 'Atlantis: The Lost Empire', but there are lots of explosions.
Aimée and Jaguar shows honest emotion between two women who are focused on survival, desperate for happiness in a time of grave repression, and genuinely in love.
The story of Anna Leonowens and King Mongkut of Siam has gone through multiple mutations in 150-plus years. First, there were the diaries of Indian-born British citizen Leonowens (known to be creative, to say the least, about many aspects of her life and story, even her name), recounting her experiences as teacher to the royal children of the King of Siam in the mid-19th century.
It really sucks to be poor and of no social consequence, especially once you have had a taste of nobility and luxury.
Whatever's on Juliette Binoche's mind, gazing at that face can definitely get you thinking.
Playing a social outcast capable of helping others but incapable of helping herself, Jennifer Lopez still comes off as too much of a star she is, and not enough of the lonely beat cop she's supposed to be.
Everyone in the film can see that pairing a 48-year-old womanizer with a 22-year-old girl dying from a sketchy illness 'of the heart' is lame, not to mention derivative, unpleasant, and pathetic.