Sunday, January 1 1995
Curtis Hanson's Wonder Boys is very much concerned with the boys its title declares (or, rather, with a certain sort of boyish behavior). More to the point, it actually seems to wonder, as we do and as the characters do, what is to be done with them.
Throughout Waking Life, the pictures rarely, if ever, stop moving, flowing, breathing -- attention has been paid to the animated environments, not just the characters in the foreground.
Penelope Cruz is as radiant a rising star as you're likely to see in this lifetime, sensuous and dewy-new-seeming.
There are plenty of anxieties to go around here, most of them concerning what it means to be -- or at least behave like -- a man.
Considers the possible effects of transposing a 'natural' justice system onto human conflict.
One of Ingmar Bergman's best films and certainly one of the best ever made on the subject of aging.
Occasionally, a movie comes along that attempts to remember the '60s as a time like all others, with competing ideologies, and both good and bad effects.
Though some viewers might not compare producer-director Keith Gordon to John Huston as adaptors of literature to film, Gordon makes films which are regularly praised for their 'faithful' transfer of literary texts.
I can't help it; whenever I hear that opening theme music to a James Bond film, I get a tingle. I can't help but to hope for the best. This time out, my hopes were raised by a great opening sequence to The World Is Not Enough, which involves a thrilling highspeed boat chase. What's more, TWINE gives us the premise for a most excellent villain.
While Whipped's general organization -- three guys competing for one woman, all knowing about one another, all showing up at her apartment at the same time -- is pretty much directly ripped off from Spike Lee's groundbreaking She's Gotta Have It, here the focus is not on the she, but the three he's.