Sunday, January 1 1995
Joe Gould (Ian Holm) is what they used to call a 'character.' You see him early in Stanley Tucci's film, scuttling into a diner where New Yorker writer Joseph Mitchell (Tucci) is having coffee.
Are 'rednecks' funny? America seems to think so.
Digital dinosaurs in digital stereo.
The elegance of Maclean's film, however, lies i
In the movies, suburbia is usually plastic and colorful, familiar and pockmarked by Pier Ones, Burger Kings, and Walmarts, as well as American Beauty roses.
Here's the short version of this review: 'Jay and Silent Bob Strike Back' is a very funny movie.
The movie serves up the surface layer of gay style, with none of the substance.
A swoony, adult film of unexpected restraint, 'In the Mood for Love' shines with radiant color schemes and two devastating central performances, by Maggie Cheung ('Irma Vep') and Tony Leung ('Chungking Express', 'Happy Together').
Fighters in 'Iron Monkey' don't float or glide toward each other. They rocket, bounce and whip.
Wordless sex suddenly seems more appealing than the nasty arguments that repeatedly erupt. "
'I Am Sam' will not let these characters be: they must run the gamut of movie-of-the-week emotions... A to B.
'Innocence' offers a brave take on love, fidelity, and sexuality that often flies in the face of traditional, age-defined preconceptions of all.
Michael Mann's film The Insider is about blowing the lid of conspiracy off the tobacco industry. Although the film is ostensibly about one corporate produced addictive narcotic, that is nicotine, it is really about two, the other one being capital.
Where 'Italian for Beginners' differs from other Dogme 95 fare is that its end isn't totally catastrophic. This isn't to say it has a happy ending, just that it doesn't end with the usual emotional wasteland littered by human wreckage.
The In Crowd's script, by Mark Gibson and Phil Halprin, is extremely predictable (to the point that Warners' request that reviewers not give away the 'film's ending' is a joke in itself).
In the film's most heart-wrenching moment, Cho describes how she lost all sense of her own identity in being so transformed into a commodity for public consumption.