Sunday, January 1 1995
The Bone Collector assumes you know the drill, the serial-killer-movie drill. It gives you most everything you need to know during the first four minutes, half of which take up the credits sequence (the credits themselves are, of course, hyper-scratchy and slashy-looking, very post-Seven stylish).
But of course, all this genderfuck is just warm-up for Malcolm/Big Momma's dilemmas when it comes to sex.
The fact that all of Elliot's hopes and dreams are pinned on winning Allison supplies the film's most provocative gender twist -- a man refashioning himself to please a woman.
Martin Lawrence's signature punchline is all about survival. Typically delivered with exuberance and not a little self-satisfaction, the line reflects his thrill at getting over. It reflects his fans' thrill as well: they're happy to see their boy survive and, even better, succeed.
It is not, as I've heard it called, a 'Scottish Thelma & Louise,' as this soundbite doesn't do justice to the ambitious, if not exactly realized, aspirations of 'Beautiful Creatures'. For one thing, it's less glossy and celebratory than Ridley Scott's anthemic movie, and for another, there's no road trip in it.
John Singleton's 'Baby Boy' begins with a bang. But it's not the sort of bang you'd expect from the guy whose first film was the earnest 'Boyz N the Hood' (1991), or whose last, the explosive 'Shaft' (2000), had its Armani-clad protagonist declaring, 'It's Giuliani time!' as he stalked off to blow away a few bad cops.
As its title promises, Robert Iscove's romantic comedy features a number of boys and girls. Or rather, it features a number of character sketches standing in as boys and girls, rendered by actors whom you'd expect to be more careful about selecting projects.
The Business of Strangers' basic premise -- the meanness of the business of strangers -- is worn-out.
With 'Brother', his first English language film, Takeshi Kitano again examines the violent intimacy of the yakuza 'brotherhood.'"
'Blow' is all about how reality and money get mixed up.
The question I am left with, in relation to all these other characters, is what, if anything, are they satirizing?"
Someone I know organized an opening weekend group to go see The Best Man. As he reasons in the invitation he sent out to several friends, Hollywood pays attention to opening weekend box office receipts, and he'd like to ensure that this film's receipts make an impression on the powers that be. You don't see this kind of effort made for just any movie.
An action movie dressed up like an art film, 'Black Hawk Down' is not about betrayal or anger, but heroism and patriotic fervor.
Leo's much anticipated follow up to the record smashing Titanic has finally arrived, and it is, perhaps not so surprisingly, considering the hype to be lived up to -- an unmitigated flop.
We stop short of congratulating Bridget Jones with a hearty 'you've come a long way, baby.' After all, 'Bridget Jones's Diary', like 'Pride and Prejudice', is preoccupied with marriage.
Though it looks like it might have been fun to make, 'Bandits' never becomes subversive or screwball.
Of course, ambition, talent, good luck, and effort can only take you so far. The film addresses racism in the business by underlining the tour's lack of 'incidents.'"