Sunday, April 24 2005
Claire Forlani goes so far as to call Shadows in the Sun her Il Postino. Oy.
Monday, April 18 2005
Stand By Me is always worth celebrating.
Reform School Girl is a tepid straight-to-cable remake of a tepid 1957 drive-in flick.
Dolls lingers on heartbreak but doesn't say much about it.
Thursday, April 14 2005
Director Kassell says, 'There's Kyra Sedgwick beating the shit out of Carlos Leon. I love this scene.'"
Tum doesn't so much triumph over adversity as take advantage of idiotic and inept opponents.
Part derivative, part original, and part twisted, the film quotes obviously from other serial killer films, beginning with its first shot.
Death, or that state 'beyond natural color', is Short Cuts' common denominator.
It is your basic road movie, tracking three teenage girls who fake being kidnapped, steal a car, and skip town.
Prisoner of Paradise is a fitting rebuke to Life is Beautiful. Entertainment is a diversion, not a survival strategy.
It is cinematic cotton candy, dissolving the moment it hits the tongue.
For Chris Doyle, the 'great challenge' is shooting any emotion, 'taking ideas and turning them into images'.
Based on three Snicket books, the film mostly takes the kids' perspective, and so delights in the gooey and the ooky.
Ambitiously humanitarian, the film uses Paul's plot to allude to the broader tragedy.
Pedro Almodóvar's commentary is as seductive as his filmmaking.
Thursday, April 7 2005
Coccio's movie looks both chillingly insightful and despairingly naïve.
Whispering Corridors' ghost story comments on the harsh South Korean education system.
Twentieth Century reveals the self-consciousness of theater, its falseness and its glory.
Amid the road-tripping and the boy bonding, it is Maya who resonates at last.
Téa Leoni sees the script as an example of Brooks' ability to 'pierce human truth and make it ooze for you'.