Tuesday, October 14 2003
Happily, the DVD reveals that Eliza Dushku is as savvy and funny as you'd want the girl who played Faith to be.
Bourbon Street may not necessarily be known for its martial arts instruction, but Storyville is willing to get a little strange when it needs to.
Marcel Carné acts like the perfect traffic cop, guiding his characters through one absurd coincidence after another.
John Frankenheimer's 'Black Sunday' serves as something of a transition between 'New Hollywood' and the more spectacular films that came later.
Tuesday, October 7 2003
Like his subjects, Olmi lived through and went on to tell stories about the post-War Italian economic miracle.
'Michael [Caine] at that time, did not drive a car. He could just about manage the idea of pulling up at three miles an hour.'"
My intention was to make a picture that on one level was a genre movie, summer movie, kind of a cop movie, whatever that genre is, and at the same time, to serve different gods.
He's mixing drinks in his bachelor pad, equipped with, as director Peyton Reed calls it, a 'really bitchin' television set.'"
With such conspicuous racial politics, it's no wonder that Cajayon's 'little film that could' consciously shoulders the responsibility of representing Filipino-ness.
Ken Hughes' portrait of Cromwell allows him to recast the military, particularly its leaders, as betrayed by politicians of all stripes.
Addresses the danger inherent in the military hierarchy and social isolation.
Tuesday, September 30 2003
'It's the juxtaposition, like Sergio Leone would do that really well.'"
This is the film's genius, its simultaneous emulation and excavation of true crime's obsession with dull or spectacular minutiae, coupled with a refusal to make such details cohere into master plans and meanings.
'There are so many things that typify growing up in Southern California in the late '70s and early '80s. Miniature golf.'"
Indian and British, white and brown and black, queer and straight. It's all in the mix.
Monday, September 22 2003
Wings of Desire is the most optimistic of films, finding freedom and potential in the quotidian privileges most of us take for granted.
Versus and Ichi the Killer challenge the concept of righteous motivation, offering protagonists so morally ambiguous that it's difficult to distinguish who is 'good' and who is 'evil'.
'I don't want to end up in there,' is a repeated mantra.
John Malkovich and Javier Bardem shed welcome light on their thinking about this sophisticated meditation on terrorism, trust, and desire.
Monday, September 15 2003
Draws parallels between Bobby and Charles Whitman, though there's a much larger issue at stake: the availability of guns, at the root of the rise of violence in America.