Sunday, January 1 1995
'Happy Accidents' is either a sci-fi love story, or a love story in which one of the lovers is crazy.
When he and the team are unable to reverse the effect and he's stuck in a transparent state indefinitely, Sebastian becomes not just mean, but insane.
Longtime 'Simpsons' writer and executive producer David Mirkin's predilection for wickedly witty cartoonishness is only slightly tempered in his live-action movies.
The Highlander series has these problems and more, being first a film franchise that started well and then went suddenly sickeningly wrong, then a syndicated TV show, and now again a film property.
Hamlet often speaks in a voice-over or directly to the video camera that he is rarely without. Sometimes we see the results of these 'video diaries' as he rewatches them on his monitor -- his own Real World confessional.
['Hatari'] reminds us as well that, as David Thomson observes, Hawks is 'the greatest optimist the cinema has produced.' He delineates a world in which men and women, humans and animals, co-exist and achieve an enviable degree of harmony and serenity.
The nostalgia infusing 'Hearts in Atlantis' often makes the film infuriating, as well as just plain dopey.
There's a moment partway through The Hurricane that may cause you to catch your breath. It's a cramped shot, as are most of those showing Ruben Hurricane Carter (Denzel Washington) in his New Jersey State Prison cell.
Gordon Parks' hollering is, of course, far from the usual. Elegant and intelligent, poignant and political, Parks' art encompasses a remarkable range of subjects and forms.
A smooth amalgamation of Richard Lester's intricate direction, Alun Owen's hysterical screenplay, and the natural charms of John, Paul, George, and Ringo, 'A Hard Day's Night' is a film perfectly of its time and perfectly timeless.
'Ghost World' is smart, sensitive, and insightful about the lunacy that constitutes adolescence, and never forgets how real and how complicated kids' feelings are.
As metaphor, the film's extreme look, its architecture, camera angles, weather -- externalizes the characters' extreme emotional (and occasionally mental) states.
ound dogs baying, wildflowers bending to the wind, angry white men in shirt-sleeves carrying shotguns, a swatch of cloth clinging to a tree branch. The details are all a little too familiar. You know you're looking at yet another recreation of the scary Old American South, specifically, you're looking at the set up for a lynching. This first scene of Frank Darabont's The Green Mile...
The film's depiction of an ecstatic New York City might be its only strength.