Sunday, January 1 1995
Like Arteta's intelligent and lively first feature, Star Maps, Chuck and Buck takes emotional risks and poses questions - about children and adults, responsibility and sexuality -- that other films will not.
These lost souls meet when he visits the conspicuously named Pandora's Box, the club where she's employed, and he's so taken by her (lap dance) that he asks her to come to Vegas with him for three days: no strings and lots of money.
For Weber, Sir Wilfred Thesiger's craggy face holds as much wonder and wisdom as Peter Johnson's taut torso.
Jo's 'knack for faith' isn't always predicated on good business sense, but hey, she wears great club-ideal outfits (sheer blouses, pretty accessories, and tight jeans), and her clients love her.
Within the first moments of her debut feature, 'La Ciénaga', writer/director Lucrecia Martel demonstrates a piercing sensibility and a sharp eye.
From the start of John Stockwell's 'crazy/beautiful', Nicole is set up to be both typical and freaky, the kind of adolescent girl you've seen in a million other high school and/or 'crazy white girl' movies.
Here the primary players are caught between forging their futures (individual and communal) and regretting their pasts, conjuring up a civilization in an unforgivably brutal environment.
The girls are less reduced to t&a than they are passionately independent, passably intelligent, and definitely not taking any shit from their over-stimulated male bar patrons, whom one 'coyote' describes as having 'little toddlers in their pants.'"
As one of four producers for the film, Travolta helped to secure the $100 million independent financing, most of which seems to have gone into the Psychlos' elaborate dreadlocked wigs and the enormous platform boots that make the big meanies look eight feet tall and terribly slow on their feet.