Monday, February 7 2005
We feel a dogged incompletion, as if Ray Johnson's career was a massive joke awaiting one final punch line.
David Marconi's screenplay is redeemed by its interest in messing with our minds rather than trotting out the requisite local color and visual shortcuts.
The film's primary appeal is the bizarre turn by Noel Coward as Wilson (one of several 'eccentrics' the film trots out to otherize London even as it pathologizes at least one of the yanks).
Wednesday, February 2 2005
The Kids' steadfastly humanizing instincts go a long way towards rendering their comedy adorably toothless.
It's not clear why Jamie Kennedy holds back with some marks and pushes others completely over the edge.
Attempting to capitalize on the success of Brown's book, ABC News' Jesus, Mary, and DaVinci attempts to discern fact from fiction in The DaVinci Code.
Dickie Pilager embodies U.S. political-corporate mythology, the 'shining city on a hill' reduced to basic elements.
'The fact is,' says director Peter Chelsom, 'I was very, very wary about remaking such a perfect original.'"
Decked out in his vintage gear, Rico Suave has been reduced to selling oranges with his young son on the side of a California highway.
'This was a lot of joy,' says Bruce Sinofsky, 'To be in a studio with musicians and people you respect, and watch the creative process, but also to watch these people break themselves down to their essence and start rebuilding themselves was an inspiration.'"
Its handheld verité style pulls viewers uncomfortably close to this band of humans struggling to survive their surroundings, as well as each other.
Kinji Fukasaku's striking compositions remind us that the world of filmmaking is draped in a charade, an expertly plotted manipulation.
Tuesday, February 1 2005
Two tribute concerts to jazz innovators John Coltrane and Bill Evans respectively, available for the first time on one DVD, is at times both brilliant and highly puzzling.
Wednesday, January 26 2005
As long as Baby Boomers still roam the earth, M*A*S*H will probably always be showing somewhere on cable.
Their advice -- dished out to each other or the seemingly endless numbers of relatives and friends -- reveals dignity and shrewdness.
Crippled by their past and unable to function in the present, these characters represent what David Hare calls 'the part-emotional landscape that is England.'"
Kevin Conran seems pleased to admit that he has never stepped foot inside Radio City Music Hall.
Paul W.S. Anderson says, 'For me, there is in modern times, a definite fear of loss of identity. And that's what the undead represent. They are the mass, there's no differentiation between them.'"
According to director Stephen Hopkins, 'Los Angeles, with all its glare and dust, felt like a Western town to us, sort of a mining town that had been shoved up really quickly.'"