Sunday, January 1 1995
Where [the ghost] becomes a relatively benign presence for Carlos and the other boys ['The Devil's Backbone'], the same cannot be said for the living adults.
Frankly, it doesn't seem coincidental that these films are being released around the holidays; certainly Dracula's bloodsucking lust appeals on some level to our own holiday consumer frenzies.
If you've seen Bad Boys, Rush Hour, Blue Streak, or even 1988's Midnight Run, you've seen most everything this movie has to offer.
Michael Douglas's latest film, 'Don't Say a Word', is painfully and transparently about, well, him.
Most of the action in Diamonds involves a road trip undertaken by Harry Agensky (Kirk Douglas), his son Lance (Dan Aykroyd), and grandson Michael (Corbin Allred).
Cliff, Mitch, and the adorably timid Glenn spend great dollops of screen time trying to recompute Apollo 11's trajectory, covering a blackboard with an engineer's esoteric, mathematical scrawl.
The movie certainly doesn't devote much screen time to the dinosaurs' long-term fate, instead being content to follow along as Aladar tries to get laid without getting eaten -- you know, the way we all do.
The utopian vision Bunuel and his contemporaries aspired to is now beside the point. All that is necessary is to get us to remember a product in order to consume it.
Duets exposes the frustration of the 'American Dream', when working hard only makes you tired.
With Deuce Bigalow: Male Gigolo, however, Schneider finally manages to thrust his unattractive mug into the spotlight. The result is a comic spoof that casts him as the anti-Richard Gere, an ill-suited suitor whose on-the-job training provides for a variety of awkwar
The Hungarian film, 'Daniel Takes a Train', explores at length the tensions and sorrows that befall the lives of political refugees and details how those lives persist, even in the grim face of war.
Hassan Yektapanah's 'Djomeh' is perhaps the strangest and most rewarding romance you'll see all year.
Domestic Disturbance goes through the motions, slowly at first, and then with a speed that would seem remarkable if you cared a whit what was going on.
Deterrence, Rod Lurie's directorial debut, two years in the works, repeats the many overworked cliches of the nuclear paranoia pics of the early '80s, but comes nowhere near the achievement of kiddie classics like War Games, Fail Safe, The Longest Day, or even the melodramatic made-for-TV event, The Day After.
What is it about food movies that makes critics and arthouse audiences drool?.
And so, here comes Mr. Rock, invading the white folks' world with something approximating a vengeance.
There's something satisfying about watching a beleaguered woman get revenge on a lowdown-scumsucker of a husband. True, there's also something satisfying about substantive characters and plots without whopping big holes in them. But you can't have everything.
We're stuck, 'Dr. T & The Women' seems to say. Men and women: this is simply how we are.