Sunday, January 1 1995
Here the past is not dead or inert, it always influences the future... 'Malena' recognizes the futility of its own nostalgia.
To aid him on his travels, Bobby (Jon Favreau) takes Ricky, his childhood friend, boxing partner (they're introduced fighting each other in some cheap venue, for piddling money), and notorious fuck-up. Ricky is played by the affable (when not bar-brawling) Vince Vaughn, who also produced 'Made', and who, in 1996, starred with Favreau in 'Swingers', the film that made them both bankable properties.
Instead of being innovative, 'The Musketeer' is appropriative and (save for the very clever fight scenes), straight-up insipid.
'Monster's Ball' leans heavily on Southern Gothic torment and metaphor, as well as bizarre, if historically framed, circumstances.
Maybe Baby's sight gags are sometimes hilarious and the story is often engrossing. But the execution falls flat.
No matter how hard he tried, Méliès could not put aside the role of conjurer.
Like many of his other works, 'Mulholland Drive' has a dream logic, whereby characters morph, metaphors are made literal, and a stylistic fluidity juxtaposes with a disjointed narrative structure.
When Kersten (Anders W. Berthelsen) courts material success in Copenhagen, he also captures his wealthy boss's daughter, Claire (Sofie Grabol).
I imagine that at the 'real' Moulin Rouge, the thrill wasn't just a bit of nipple and a flash of panties, but the whole entertainment package, which no doubt included exuberant 'daring' new music intended to shock and titillate the sensitivity of the bourgeoisie -- kind of like rock-and-roll or punk in our times.
The storyline develops as we know it will. Except for one thing: the primary couple is DeNiro and Stiller.
The social/political commentaries . . . are still relevant and imaginative, and the inventive physical and verbal humor is still the stuff that bladder accidents are made of.
'The Mexican' follows the turbulent near-end of the relationship between hapless Mafia gopher Jerry Welbach (Brad) and his obsessive, psycho-babbling girlfriend Samantha Barzel (Julia), who reduces everything in her life to 'blame-shifting' and others' inability to express their emotions.
Modulations looks at the hyperreal world of global rave, house, trip-hop, and experimental electronic culture, featuring a cast of the most revered DJs and producers, journalists and fans-on-the-street, stars and some lesser-known artists.
She's the perfect drag queen, embodying the ruthless paradox of entertainment. She is the show that must go on and cannot.
So disappointing because of the unfulfilled promise of a firm stand on news broadcasting and the media.
Far be it from me to accuse Hollywood of wishful thinking. But as the closing credits for Man on the Moon roll under Andy Kaufman's (Jim Carrey's) timid gaze, it's easy to think the film has been seduced by its own notion that a life of sufficient celebrity can offer freedom from the mortality that afflicts ordinary souls.
Everything in 'The Mummy Returns' is bigger and more expensive, from its impressively enormous matte shots and massive armies composed of thousands of digitized soldiers, to its great swirling sand effects and outsized characters.
On its good-looking surface (being well-composed and carefully lit), 'The Mexican' is a love story.