Tuesday, June 21 2005
A year-round California lifeguard, Rick Carlson (pre-gray Sam Elliott) has resisted the pull of others' expectations longer than most of us do.
More disturbingly, Hostage is about the failure of certainty.
Monday, June 20 2005
While the outcome is obvious (generic rules apply), Jackson is sharp and relatively restrained.
Friday, June 17 2005
So it's not Casablanca, but License to Drive does have its moments.
Crush conveys horror in a setting where eruptions of Otherness are barely contained, if also erratically effective.
Thursday, June 16 2005
Long before OJ, James Dean, and William Desmond Taylor, the mysterious death of 25-year-old film star Olive Thomas caused a scandal in 1920.
Wednesday, June 15 2005
The newly dead Henry Van Cleave (Don Ameche) wants to be judged.
Tuesday, June 14 2005
Star Trek: Insurrection has been left without a defender of its particulars. I volunteer.
Friday, June 10 2005
It is the footage of Klaus Nomi that best demonstrates the immense talent and heart that lie beneath what could have been nothing more than nightclub kitsch.
Thursday, June 9 2005
Trevor is an image disappearing, more about reduction and loss than self-knowledge and identification.
Tuesday, June 7 2005
More than anything else, Richard Pryor was a confessional artist whose monologues derived from his own chaotic and frequently self-destructive life, Brother Richard testifying from the lip of the abyss.
Friday, June 3 2005
The very process of documenting freestyle is at once contradictory and ambitious, futile and crucial.
Thursday, June 2 2005
The movie toggles over into autopilot, following the flight path established years ago by John Carpenter and Tobe Hooper.
Tuesday, May 31 2005
'Truffaut had the dread of everything conventional. Above all, he detested the conventionality of the nonconventional,' Jean Gruault notes.
Friday, May 27 2005
Synthesizer pioneer/nice guy Bob Moog deserves a thorough, artistically bold biopic. Director Hans Fjellestad isn't up to the challenge.
Thursday, May 26 2005
The filming oscillates uneasily between Masterpiece Theater lushness and National Geographic-style ethno-voyeurism.
Christopher Reeve's film seems geared less towards portraying the warts and all existence of a disabled person, than showing what can be achieved with a little selfless dedication.
Tuesday, May 24 2005
Henry's instructions bring Turner and Jason to important landmarks that dredge up memories and force them to face events that have haunted their lives.
Monday, May 23 2005
In Cullen's rise to the top, he summarily steps on everyone who tries to help him or slow him down.
As Koji and Junco drift apart, not only is their dialogue minimal, but they also appear repeatedly framed by windows and doorways.