Thursday, April 24 2003
In its focus on these reunited '60s folkies, 'Wind' engages in that most virulent form of nostalgia: '60s-itis.
Memory is a tricky business. So are movies that mess with it.
Amanda Peet, not incidentally, throws some fine, even sublime, attitude.
It's not even Blair Witch II, which pretty much makes it the worst movie ever set in the woods.
Bill Paxton's banal banter and overacting alienate us, as we try to ignore him and focus on the live-action images of Titanic.
They meet at King's club, where he's auditioning strippers: Dustin Hoffman, big pimping.
To even things up, perhaps, or because he's bored, or because it's so easy, Ben cheats.
Thursday, April 17 2003
Like most such slapdashy juggling acts, Malibu's Most Wanted can't keep all its balls in the air.
Doubles all stakes of the original film, and more elaborately, of the remaking process.
Goes spiritual by stopping the gunplay while characters get all misty-eyed over otherworldly butterflies.
Has a couple of ideas rattling around in its head, ideas that are -- or could be -- strangely relevant.
Friday, April 11 2003
Daphne is cooler, thinner, and just plain hotter than her secretly envious rivals.
Boasting that it includes more than 5,000 edits, Jonas Åkerlund's feature debut offers glimpses -- very fast -- into life on speed.
'It is not 'just' a movie. What hinges on this release is so much larger than the film itself.'"
Dave (Adam Sandler) grumbles okay, to everything, his face reorganized into a permanent twist.
Monday, April 7 2003
Jean Gabin compels our attention as much through stillness as through visible exertion.
Carpenter refuses to reduce the violence to a sideshow of blood squibs or special effects pyrotechnics.
Thursday, April 3 2003
A function of increasing anxieties about security, surveillance technology, and loss of privacy, this sniper is symptomatic.
It's sad that the wife is dead, of course. More painful is the death scene per se, as Vin Diesel has to play something approximating tragedy.
Even the most generous viewer is hit by the absence of rationales, however bizarre or slender, for the film's plot turns.