Sunday, January 1 1995
Quoyle is yet another of Kevin Spacey's damaged souls, but a nice one.
Granted, psycho villains per se are not news. But that's sort of the point with Don -- perversely, he's hyper-aware of his ordinariness, his conformity to expectations of the people around him who submit and look away when he's in the room, like you're told to do when a mad dog approaches.
There is creative genius behind The Skulls. Someone, somehow, managed to pull together a pretty intriguing trailer for this thriller.
The Scream series has always been about movies. But unlike most movies, the Scream movies have always been smarter than commentaries about it, and in particular, smarter than the commentaries about its commentaries on movies.
In 'Storytelling', when Vi exclaims that her story 'really happened,' her professor observes, 'Once you start writing, it all becomes fiction.'"
The most annoying aspects of 'Say It Isn't So' have to do with its uneven tone, part ironic, wise-cracking condescension and part clueless, mean-spirited condescension.
hy would anyone want to play a talking donkey? We might suppose that doing voices for an animated movie is less stressful than acting in live-action pictures, that actors are well-compensated, or that doing a movie 'kids can see' is appealing to many movie stars.
Intrigue, deception, display, betrayal. All this is what it is, typical action flick sex-play, foreplay for the big explosion or something equally prosaic.
No longer are epic adventures the province of fair maidens and proud knights. According to 'Shrek', everyone is deserving of fair treatment and true love. Even a dragon and a talking donkey.
'The St. Francisville Experiment' is 'Blair Witch' meets 'The Haunting' (the terrible 1999 remake) meets 'Survivor' meets bad porno.
The office is burglarized and specific hard drives are missing -- sabotage or coincidence? Is it possible to be paranoid in a business where the stakes are so high and the egos so large?"
'Someone Like You''s press kit describes Eddie and Jane as a 'Hepburn and Tracy of the modern era', but its undercurrent of painful loss and compulsive grief avoidance is precisely missing from movies like 'Desk Set' and 'Adam's Rib'.
As much as it's being touted as a Welsh Romeo and Juliet, Solomon & Gaenor never quite reaches the level of urgency.
Ride with the Devil is essentially two films in one. The first is a story of loyalty - to family, community, and nation - tested in the social and political upheavals of civil war. The second is a story of male bonding and love in a homosocial order, the negotiation of male-male desire, and male domestication, all triangulated and enabled through the body of a woman.