Thursday, May 5 2005
Apparently, the production suffered from ego problems on set, similar to those bothering the characters.
As Shane Carruth notes, the time travelers are like 'kids in a clubhouse,' poking around because it's fun and vaguely new, which leaves them unprepared for what comes.
Noam Chomsky is also a walking primer on how to be a public intellectual.
While Zhang and Zhang's commentary track emphasizes the sheer effort that went into the film's production -- training, research, special effects work, hours on the set, physical hardships -- it also suggests the good time they shared.
I knew what a Groucho Marx impression was before I knew who Groucho Marx was.
Beaches is the Goliath of those epic '80s melodramas, squashing patience and dignity and tact.
Tuesday, April 26 2005
Retribution leads to violence, such that the next generation of brothers, Tim and Chris, are tossed into yet another vacuum of fear, guilt, and suspicion.
In Diego Lerman's generous film, going bankrupt is an excuse for spending less time shopping and more time meeting potential friends and lovers.
These moments serve no real purpose other than to let all us know all the kinds of hilarious and odd things that can happen during restaurant rush hour.
For viewers, it's a chance to see works by emerging filmmakers in easily digestible, small chunks.
Ooky ambiguity is one thing. Incoherence is another.
To the artist hell-bent on changing the world, little victories are never enough; there's always another person to reach, always another fire to start, always another convention to raze..
Perhaps the most vehemently anti-war film of its era, Bitter Victory has no time for Greatest Generation mythologizing.
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.