Clever and interesting update on Romeo and Juliet with Dicaprio and Danes as the doomed couple. Luhrmann's mad vision reached fuller, romantic expression in Moulin Rouge; here he's playing with the form and style and shifting actors around like layers of a rich, sonorous painting.
CLAIRE DANES, LEONARDO DICAPRIO
Horrifying drama about an FBI agent (Foster) pursuing a serial killer with the aid of "Hannibal the Cannibal", a pyschotic murderer with a history of cannibalism. Thin concept that doesn't really hold up well, but allows for some really horrific scenes. The mask is a visual confection-- doesn't necessarily make much sense within the narrative.
JODIE FOSTER
Memorable, austere version of the terrific book by Ondaatje, who also wrote the screenplay. Was rescued by Miramax after producers refused to put Demi Moore in lead role.
RALPH FIENNES, KRISTEN SCOTT-THOMAS, JULIET BINOCHE, NAVEEN ANDREWS, WILLEM DAFOE, COLIN FIRTH
Very, very strange, dark, vicious allegory of Thatcher's England. A gangster's moll has an affair with a good cook. The gangster finds out about it and exacts his incredibly horrifying revenge. Cannibalism lyrically rendered... but not like-ably. Has a bit of the tone to it of a naughty adolescent who really wants you to be shocked by his clever but dirty story.
A Jewish boy is taken away from Poland by the Communists and trained at a special school for orphans. When the Germans over-run the area, he passes himself off as a German orphan and joins a regiment as they move East. He becomes confused over identity and morals. A story of survival and moral ambiguity, well-filmed and acted.
Sometimes entertaining Roald Dahl tale about bright girl in stupid family who is sent to a vicious boarding school and eventually exacts her revenge. Somewhere along the way, the film loses its point, and instead of presenting satire or parody, becomes pure fetishistic fantasy. The principals are okay and the idea is appealling.
Disappointing parody of "Independence Day". Created by Tim Burton, director of Edward Scissorshands. Special effects are clever but sloppy, the cameos aren't as much fun as they should have been, and the script seems to have been slopped together in desperation. Jack Nicholson doesn't know who he's trying to do as president... it goes on and on. Two, maybe three genuinely comedic moments. It's not a homage, it's not slapstick, it's not serious-- there's nothing else for it to be.
Low-budget, technically careless film about star-crossed lovers, Oliver and Jenny, who cross class boundaries to fall in love and marry, only to face Jenny's death (presumably by cancer, which is not named in the film). This film was a monster hit of the early 70's and, in spite of the it's flaws, which are many, it has a raw, simple appeal. Neither MacGraw nor O'Neal do much real acting in the film. The timing is off, and the sound track is maddeningly slipshod, but the two actors are appealling and the secondary characters are more than cutouts. Nothing takes very long to happen and the emotion-laden final scenes aren't too overwrought. Made in the 1990's, it would have featured a blazing soundtrack of current radio hits, but instead we are stuck with the insipid "Love Story" theme. Neither lead had much of a distinquished career afterwards, though MacGraw was insteresting in "Goodbye Columbus".
Rather predictable thriller with Moore as a juror threatened by the mob if she doesn't convince the rest of the jury to vote for acquittal. Could have been much better, of course, if there had been something unpredictable about what happens next... she does convince the jury, but instead of a meditation on justice and perception, we get the standard squealling female pursued by psychopathic killer routine, all the way to Guatemala. And has anyone informed Demi Moore that she can't act? All right, occasionally gripping for the first 40 minutes-- like a lot of Hollywood garbage. It is usually at the 75 minute mark that all credibility goes out the window.
Stark, seering portrait of compulsive man, Johnny, who abuses his women and revolts against domestication, wanders the streets encountering strange, obsessed people, and patters on endlessly about morality, time, death, and God. Strange film, repellent yet mesmerizing. Well-acted and directed, sometimes brilliantly acted and directed. David Thewlis is stunning as Johnny, and supporting cast is uniformly great. Not for the weak at heart. There is a mesmerizing sequence with a moronic Scots teen looking for his girlfriend, Maggie, who shows up later and goes to eat with Johnny. Written by Mike Leigh (director).
Raw but moving account of a rebellious teenager who gets himself, and his girlfriend into deeper and deeper trouble as he tries to sort out his feelings about life, work, and independence. Made on a showstring, was panned in Toronto, then reassessed after it won New York Critics award as best film. Echoes some elements of the French New Wave. Seen again 2023-- see separate review. This is rather generous, inspired, perhaps, by New York critics approbation.
Entertaining, fresh, slice of life about misfit teen courting the wrong girl, while his tom-boy friend shines within reach. Crafty and knowing, with the right touch of humour and sentiment. A bit too obvious sometimes, but, hey, this is oriented for teens.
Intriguing sci-fi production about a military experiment that accidentally destroys all life on earth, except for people who died precisely at the instant it happened. One of them is a scientist involved in the experiment, who searches the country for any other life. Eventually a young girl finds him, and a Maori tribesman from the country's south. Well-filmed and convincing, sometimes compelling, with an intriguing premise, and generally well-directed. Acting, especially by Routledge and Smith, is a little stiff.
Interesting slice-of-life film about three Irish-American brothers living in Long Island, and their various love affairs. Patrick is the devout Catholic who can't make up his mind whether to marry his girl until she dumps him; Barrie vows he will never get married, but meets the girl of his dreams and must rethink his position. Jack claims to have no interest in adultery but when a woman propositions him, he succumbs to temptation. Amateur actors, in both good and bad sense, and script seems a tad thin at times, but refreshingly "non-Hollywood", and more rich and affecting than similar fare from Tinsel Town.
Turner works at a office in New York run by American intelligence agencies to research international political and social issues. A bit of a rogue, he uses a hidden entrance in the back to leave for lunch. One day he returns to find everyone else in the office dead-- and the race is on. Turner flees the scene and contacts his handlers for instructions on being brought in to safety, only to discover that his handlers may not have that in mind. He engages in some skulduggery of his own to uncover a plot to suppress embarrassing information about U.S. activities in the Middle East. Redford was never better, and Von Sydow and Robertson are excellent in this mature, intelligent thriller that never gets old because the same dynamic is still in place today: why was Saddam Hussein attacked and not Saudi Arabia? Why is Iran an "enemy" but not United Arab Emirates or Egypt? Incidentally, the famous Jack Nicholson speech from "A Few Good Men" could have been lifted right from Robertson's speech to Turner in "Three Days of the Condor".
Mildly entertaining farce about three women who get together and organize a society to exact revenge on men who leaves their wives for young bimbos. Works because the film is more intelligent than you are first inclined to give it credit for, and secondly because Midler, Keaton, and Hawn have a few genuinely funny moments-- as when they try to sneak out of one husband's apartment by lowering themselves on a window-washer's platform. Some of the men, refreshingly, aren't heels, and the three stars make fun of themselves as well as their ex-husbands.
Lavish and picturesque but ultimately disappointing "screwball" comedy about a lowly mail-clerk who, thanks to the devious machinations of a company director, finds himself promoted to president of the firm. The real purpose is to bring down the stock value so that the directors can buy it up and seize control of the company. Is this film all style and no substance? There is the suggestion of a real-life issue of corporate ethics, but the film is so glossy and facile that it is hard to feel any heart behind the pulse. It might as well have been pure fantasy, except that even a fantasy-- like Edward Scissorshands-- can have an emotional or intellectual impact. This film has none. Robbins is good as the proxy, and Jennifer Jason Leigh is one of the most intriguing actresses on film, but Newman is given nothing to work with.
Terrific illustration of what is wrong with Hollywood and what is right about European films, whatever virtues Hollywood does have (and it has a few) and whatever failings art films have (also a few). Victor Seastrom is 78 year old Dr. Isak Borg, about to receive an honorary degree from his alma mater. He has a disturbing dream the night before he sets out in his car, along with his daughter-in-law, Marianne (Ingrid Thulin) to receive the award. On the way, he stops at a childhood summer home and relives some painful memories about a young woman, Sara (Bibi Andersson) he almost married. A young woman (played by the same actress) meets him and asks for a ride for herself and two male friends, a Christian and an atheist. They drop in to visit Borg's mother, then proceed to the ceremony. Borg finds out that his daughter-in-law is about to leave his son because he won't accept her pregnancy. His son claims is dead already, living without feeling in an empty shell. How can he take responsibility for bringing children into the world. Borg reaches an epiphany of sorts: that he has been selfish and unfeeling, and makes a mild but significant attempt to make amends. Compelling, real, and powerful. The only short-coming is the somewhat dated technique and a flavour of contrivance in the scenes from Borg's youth.
Strong performances highlight a compelling story about familial alienation. Jack Nicholson plays Bobby, the wayward son and brother of an elitist, cultured, Oregon family, who drifts to Texas and links up with an earthy, uneducated woman (Karen Black). When his father suffers a stroke, he returns home to confront suppressed family demons, and conflicted feelings about his own future. Includes the memorable restaurant scene, where "Bob" tells the waitress to hold the chicken "between your legs". Karen Black plays the vulgar girlfriend who, against Bobby's wishes, joins the family in the compound creating a stir. Bobby, meanwhile, lusts for his brother's girlfriend, Catherine, who, of course, melts into his manly arms. Yes, it presents the classic, stereotypical attitude towards snotty, educated "elites", but there is complexity to this portrait: Bobby doesn't really accept the vulgar Rayette Dipesto either and eventually abandons her. We are left with a man who finds the world vulgar or phony and can't make up his mind which poison to take. Very strong performances and very well-written.
Very off-beat adaptation of Ann Jellicoe play about young girl coming to swinging London in the mid 60's and meeting three men in a spirited romp of seduction and sexual adventure. No structure in conventional sense-- more a series of vignettes. Provocative-- as when the girl, Nancy, shouts rape after an attempted seduction, but then returns to the men's apartment and strips. Called a film "about youth", in the sense that it doesn't really mean to make any big statement. It just dramatizes the zest and emotional spirit of young people in the world of changing sexual values.
Collection of Python skits performed live before an audience at Hollywood Bowl. The usual absurdities, not as carefully timed or orechestrated as the television versions. Includes bureau of silly walks, lumber jack, travel agency, and other classics.
Unusual tale about Irish girl sent to live with grand parents and the myths and legends of their family. The actors all appear to be amateurs, the scenery is great, but never really takes off. Lyrical and sometimes charming, but sometimes just slow-moving.
Confusing account of "cyclo" driver who is recruited into a gang of thugs in Ho Chi Minh City in Viet Nam. Parallel stories about a poetic gangster, an innocent hooker, and the city itself, a chaotic assortment of desperate people trying to survive the weight of vicissitude. Violent, at times bizarre-- including a paint fetish-- and colourful. The first hour was intriguing, but the second was tiresome, and the strobe effects in some scenes were downright annoying. Won Best Film at Venice Film Festival for reasons unknown to me.
Mildly amusing fantasy about a fighter, Joe Pendleton, whose soul is retrieved 50 years early by an overly zealous heavenly functionary. Various complications, including murder, result when a new body must be found for Pendleton, who was a boxing heavy-weight contender. An example of Hollywood's tendency to treat religion with smug amusement, as if there couldn't possibly be anything weighty about the concept of a here-after. The religious implications are neutralized and trivialized. Joe has no discernible spiritual qualities, other than a hardy sort of good naturedness.
JAMES GLEASON
Well acted and written Jane Austen drama about three sisters dipossessed by death of step-father: only the son inherits the wealth, and he decides not to assist his step family. The girls seek love and romance, the younger, Marianne, based on passion, and the eldest based more on good sense. IN the end they get what they want or want what they get. Does lead one to wonder about the triviality of the whole thing, but fairly true-to-life and compelling at times.
Two hour chase scene with Sandra Bullock as the allegedly appealling victim. The computer technology is correct on minor details, and massively incorrect on all the important issues. Suggests that evil hacker's would have better expertise at creating and operating programs than all the established software companies that currently exist. A pity because the essential premise, that the world is becoming at once wired and increasingly isolated, is a good one, with incredibly fascinating implications for privacy and freedom. And then the movie turns into a shlocker.
The president of the United States is a widower with a 12-year-old daughter, and falls for a lobbiest for an environmental group. He dates her, creating political fall-out but ultimate stands up for his righteous convictions-- correctly liberal, of course. Hollywood's pre-emptive strike on Dole, I guess. Neither Douglas nor Benning is right for their roles (how about Janeane Garafolo instead? She'd be right in anything, of course!). And this movie is terribly, witlessly written, getting far too earnest at precisely the wrong moment. Over-rated, I suspect, because of it's sympathetic liberal leanings. Note that the reverence according presidential memorabilia at the beginning shoes Johnson and Kennedy, but not Nixon, Reagan, Ford, or Bush. All right... you could make a pretty good case that none of the Republicans accomplished anything of lasting importance (at least, not after Eisenhour).... but it does seem rather pointed.
Riveting drama based on true story of Russian serial killer and investigator's long battle to capture him. More compelling as docudrama than as film, but engrossing and interesting, and avoids overreaching itself.
Trite melodrama about musician who takes diversionary course in life as high school music teacher, only to find, years later, that he's never completed his "opus". Appreciative students think otherwise. Never clear what is so admirable about Mr. Holland, other than the contrived hipness the movie almost apologetically lays on the viewer. The last scene strikes me as unabashed hypocrisy: the school, suffering budget cutbacks, slashes the arts programs, lays off Mr. Holland, so students stage an appreciation....
Interesting sci-fi about alien named Klaatu who comes to Earth to warn mankind of dangers of nuclear weapons. But are humans ready to listen? Takes on the paranoia of America in the 50's-- if it wasn't communists, it was aliens, or teenagers. Ahead of it's time and still relevant. Obviously a heavy influence on Star Trek and other later sci fi, particularly the Gary Seven episodes with Robert Lansing and Teri Garr.
Tiresome adulation of Scottish hero William Wallace, who conducted a successfull guerrilla campaign against the British before being betrayed by his own countrymen. Annoying and predictable and blatantly mythic. The violent conclusion suggests that Gibson himself believes in his own hokum.
Interesting, violent thriller about a serial killer who executes people according one of each of the seven deadly sins. Sufficiently offbeat to be interesting and slightly unpredictable, and interesting character study of retiring police officer.
KEVIN SPACEY,
Charming fable about a postman who develops a friendship with a famous poet living in exile on his small island. He wants to learn poetry, so he can seduce the village beauty, Beatrice (!). Gentle and low-key, it's virtues are honesty and love of poetry, intelligent script and direction, and just a little less than enough restraint on the sentiment side.
Controversial, brutal, sometimes powerful portrait of teenagers and their social lives on the streets of New York, their sexual obsessions, drug abuse, and violence. Telly is obsessed with virgins and raves rapturously about the advantages of seducing innocent young girls, while one of them, who has tested positive for AIDS, tries to track him down. The other characters revolve around him, talking about girls, scoring dope, or the latest all-night party. Powerful documentary flavour, though obviously not one, which leads to interesting questions about how it was filmed. [It turns out Clark used his friends and acquaintances from the street.] These are obviously NOT Hollywood actors. Some may find this film revolting and brutal, particular the seduction scenes (though we don't seem to mind watching people get beat to pulp, at least, not in the same way). Under-rated. Some will view this film and despair at the condition of society today, but it is important to keep in mind that these teens are representative of a small, alienated segment of urban culture. We should know about these kids, but should be careful not to draw unwarranted conclusions about the rest of the world.
Lovely, entertaining film about Mutt and Jeff characters: a talk show hostess who is smart, witty, and interesting, and her beautiful blonde neighbor (Uma Thurmon) who is vacuous and trite. A caller wants to meet the hostess and mistakes Uma Thurman for her, leading to comedy of errors and identity confusion. Janeane Garolfino (sp?) is charming and amusing. Honest and engaging story.
Intriguing, if a little stagnant. About a young girl living in Paris who, unbeknownst to her, has a twin in Poland. They both love music, both lead somewhat melancholy lives. What really is it about? Solitude. Sadness. Love of music. One girl dies of a heart attack and other quits singing at about the same time. They almost become aware of each other... then do they?
IRENE JACOB
Likable "true" story of determined but untalented son of a steel-worker who dreams of going to Notre Dame and playing on Football team. Not unduly sanitized look at the football, though Notre Dame must obviously have had some approvals. Honest and unsentimental, but doesn't raise obvious questions about whether or not Rudy really is a doormat and about football's place of preeiminence in American life. Shows priest, for example, praying with the team before the game, without comment, but without flattery either.
Evocative, highly entertaining life's story of Antonia, a Dutch middle-aged woman, who moves back to her childhood village after her husband dies, to raise her daughter, and get on with her life. Through a series of incidents, we come to know the people of the town, the local philosopher, and the local fools, a Romeo/Juliet romance (he's protestant, she's catholic), a mean local farmer and his sons, and the handsome widower with a discrete shack on the back of his property. Beautifully filmed, filled with colourful, interesting characterizations. Lovingly made, ultimately pessimistic -- life is just a cycle. We are born, we live, experience joy and sadness, and die, with bittersweet resignation.
Sparsely amusing comedy about a Einstein's niece, in love with a wimpy intellectual with a British accent, eventually falling for an American auto-mechanic. Pointless comedy shows a promising germ of an idea-- Einstein and his colleagues helping the auto mechanic with their brains-- but asks you to believe they would put him up to a scientific symposium and revolutionairy ideas about cold fusion. Why is Robbins in this film?
Subtitled. Charming film about deserter who finds himself in a home with four lovely daughters, and is seduced by each in turn. Mildly erotic, no explicit nudity, colorful and amusing. Full of unexpected little charms.
Powerful, gripping, unsentimental drama about death row convict reaching out and connecting with urban nun. Sometimes wanders too close to "balanced" documentary, and sometimes close to a "movie of the week", but no compromises are made, no concession to Hollywood values. Especially compelling for its portrayals of families of victims and desire for revenge, and for Sarandon's stately commitment to her course. Based on book by Sister Helen, the model for the central character, and her real experiences.
Sloppy, disorganized comedy about U.S. president who decides to score political points by criticizing Canada, causing over-ly zealous sherriff to lead invasion. Only really amusing scene: Candy and the boys singing the only riff from "Born in the U.S.A." that they can remember. Many cameos, many careless performances, incredibly slack script, borrows heavily, without compliment, from Dr. Strangelove .
Lovely, richly decorated drama about a new mistress to a wealthy man who already has 3. She learns the hard way about politics and deviousness among the mistresses. Nicely photographed, carefully paced, and elegant, but doesn't quite reach the depths of a Kurasawa. Unless... is this marriage a metaphor for Chinese life in general, under the communists?
Drama about the former Yugoslavia, focussing on a young girl accused of murder, the young monk who rescues her at the cost of his vocation, and the photographer who captures his agony. Interesting and unusual, very violent, and affecting. Not really very informative about the nature or history of the conflict-- but that's not necessarily it's job.
Powerful, haunting, raunchy film about a boy growing up in poor section of Montreal, and his ecstatic dreams of beauty and love, contrasted with brutal, vulgar realities. His family ends up in an insane assylum, his brother is a cowardly body-builder, and the girl of his dreams, Bianca, bites his grandfather's nails for money. Includes a shocking scene of sex with a cat... Yet this film is poignant, powerfully moving. The ending is an epiphany of despair. Beautifully filmed; the music is hauntingly beautiful.
Formula film charmed mainly with the presense of Sandra Bullock as plain Jane toll collector for Chicago Transit who loves handsome business man from a distance, then gets mistaken for his fiance when he has a fall and goes into a coma. She eventually falls for his brother, charmlessly played, and his affectionate family. Ok, a little fresh, but ultimate a formula pic.
Schmaultzy, gutless interpretation of Caspar comic. The only thing going for it is the girl-- what's her name again, from the Addams family. Tries at times to capture resonances of Edward Scissorhands, without success.
Celebrated cheap cinema verite style comedy about two clerks working in side by side video and variety stores. Raw, frank, vulgar, and very funny at times, and intriguingly low tech. I really enjoyed seeing something so anti-Hollywood do well, as this film has done, and find the technical flaws, of which there are many, eminently forgivable. Entertaining, gritty, and honest.
KEVIN SMITH, MARILYN GHIGLIOTTI, JEFF ANDERSON
Predictable wash about non-communicative dishwasher who rescues a waitress from a rape, becomes her lover, and dies. That's about all there is. Obviously meant to be "sensitive" and moving, but comes off as portentious and timid.
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