Sunday, January 1 1995
It's clear that we are supposed to be blown away by the cosmic wonder of it all, but I'm afraid my sense of cosmic wonder gave way to an incoherent gargle of rage: after ninety minutes of non-plot, non-character-development, and non-action, the payoff is a single piece of non-exposition.
Despite and sometimes because of its unevenness, the film conveys the delusions of daily existence with fierce poetry.
The effectiveness of 'The Circle' lies in its attention to details -- it shows what it feels like to be watched, to be afraid, to be angry and to be disappointed, all the time.
'You don't change Chinatown. Chinatown changes you.' So warns Detective Nick Chen (Chow Yun Fat), upon meeting his squeaky clean newbie partner, Danny Wallace (Mark Wahlberg) in The Corruptor. And so persists the myth of Chinatown. Alluring, strange, and always inscrutable, in the movies it remains an uncrackable bastion of Otherness.
Crazy in Alabama concerns two concurrent stories, which take place in small town Alabama in the mid '60s. One centers on the inhumanity and injustice of segregation, while the other tells of a woman following her dream, even though it means killing her husband and deserting her children to do so.
What else could 'Captain Corelli's Mandolin' be, other than the frivolous and utterly forgettable movie that it is?"
Like Arteta's intelligent and lively first feature, Star Maps, Chuck and Buck takes emotional risks and poses questions - about children and adults, responsibility and sexuality -- that other films will not.
These lost souls meet when he visits the conspicuously named Pandora's Box, the club where she's employed, and he's so taken by her (lap dance) that he asks her to come to Vegas with him for three days: no strings and lots of money.
For Weber, Sir Wilfred Thesiger's craggy face holds as much wonder and wisdom as Peter Johnson's taut torso.
Jo's 'knack for faith' isn't always predicated on good business sense, but hey, she wears great club-ideal outfits (sheer blouses, pretty accessories, and tight jeans), and her clients love her.
Within the first moments of her debut feature, 'La Ciénaga', writer/director Lucrecia Martel demonstrates a piercing sensibility and a sharp eye.
From the start of John Stockwell's 'crazy/beautiful', Nicole is set up to be both typical and freaky, the kind of adolescent girl you've seen in a million other high school and/or 'crazy white girl' movies.