First, a disclaimer: Having missed last year’s I Know What You Did Last Summer, I deliberately put off seeing it until after viewing its sequel, I Still Know What You Did Last Summer. That way I could view Part Two without prejudice as well as be able to judge whether…
Well, now we know why the term “bored to death” was invented. Meet Joe Black, a new film produced and directed by Martin Brest (Scent of a Woman, Midnight Run), takes an interesting idea–Death assumes human form and comes to earth to learn about human existence–and reduces it to a…
The hero of Evan Dunsky’s The Alarmist is a dopey innocent named Tommy Hudler (Scream’s David Arquette) whose only sin seems to be falling in with the wrong crowd. A rookie salesman with all the aggression of a baby chick, Tommy sells residential burglar alarms door-to-door in Los Angeles for…
Fascism is in the air…well, at least it’s on movie screens. In a two-week stretch, we’ve seen old Nazis (Life Is Beautiful), neo-Nazis (American History X), old Nazis training neo-Nazis (Apt Pupil), book-burning (Pleasantville), and now, with The Siege, full-blown military rule on American soil. Still in the wings: Enemy…
Fifteen minutes into Velvet Goldmine, director Todd Haynes’s love letter to England’s glam-rock scene of the late Sixties/early Seventies, the film has already promised to be many things: a missing-person mystery, a meticulous period piece, an essay on sexually liberated dandyism, a quasi-musical, a portrait of the Machiavellian as an…
As a requiem for the Sixties, The Big Chill didn’t quite hit the mark the first time around, in 1983. Its greatest-hits soundtrack was soul-stirring, all right; it’s hard to top the Stones, Marvin Gaye or Aretha Franklin in any decade. But the shameless way in which director Lawrence Kasdan…
American History X, a hard-edged look at American neo-Nazis, arrives in theaters with a lot of behind-the-scenes baggage. First-time director Tony Kaye has engaged in a protracted, high-profile battle with distributor-producer New Line Cinema over the film’s final form. While Kaye may have a justified grievance, this is not as…
When Montoya, one of the fearless vampire killers in John Carpenter’s Vampires, tells another character that nobody believes in the title creatures because nobody wants to, there’s no mistaking the ancestry of the line. It comes down, through two generations of horror films, from the moment in the original Dracula…
For filmmaker Todd Solondz, it’s always midnight in suburbia. Life is lonely, and the natives can be hostile. In his daring second film, Happiness, the darkness engulfs victims of all ages: a boy in the throes of impending adolescence, three New Jersey sisters tormented by sex and love, an obscene…
A riveting but darkly disturbing thriller, Apt Pupil isn’t easy to sit through. The subject matter itself proves deeply unsettling, while two brief acts of sadism are so horrifying as to be unwatchable. And yet this brutal film borders on the brilliant. Beautifully structured and edited, with a chilling central…
The first time we see Ray Joshua, the young black hero of director Marc Levin’s impressive feature debut Slam, we get a vivid taste of the conflicting forces that rule him. His olive-drab pants, so hip-hop baggy that you could fit two rail-thin Rays inside, are stuffed with bags of…
At the beginning of Gary Ross’s Pleasantville, two unhappy suburban teenagers (is there any other kind?) fall down the rabbit hole of their TV set and find themselves trapped in a parallel universe–a 1950s sitcom more idealized than Ozzie and Harriet, sweeter than Father Knows Best. In this black-and-white realm,…
The Jonathan Demme-directed Beloved runs nearly three hours, and it’s a long slog. This adaptation of the 1987 Toni Morrison novel bursts with ambition: It tries to get inside the fevers of the African-American slave experience, but it also wants to be an epic family saga and a whopping ghost…
As witch movies go–even lighthearted, supposedly comic witch movies –Practical Magic is conspicuously lacking in supernatural phenomena. There are no ritual murders, resurrected warlocks or conventions of hags bent on turning the world’s children into mice. Director Griffin Dunne (1997’s Addicted to Love) can’t scare up a single bedeviled infant…
In The Eel, which won the Palme D’Or at the 1997 Cannes Film Festival, director Shohei Imamura once again demonstrates his empathy for the outsiders and aliens of Japanese society. In this case he muses on the tormented relationship between a paroled wife-murderer who’s struggling with his past after eight…
The hero of The Mighty–the title character, in fact–is an eighth-grader known by the nickname Freak. His might isn’t physical–he’s a small, frail boy who suffers from a degenerative birth defect. His spine curves painfully, and he’s able to walk only with crutches and leg braces. But he has a…
With all that is truly scandalous in the movies these days–namely the dimwit dramaturgy and the anything-for-a-buckism that passes for Hollywood entertainment–it is something of a shock to realize that Vladimir Nabokov’s Lolita still has the power to offend. Proof is the book’s new movie adaptation, directed by Adrian Lyne,…
The 21st edition of the Denver International Film Festival gets under way at 7:30 p.m. Thursday at the United Artists Colorado Center Theatre with an opening-night screening of The Theory of Flight, Paul Greenglass’s study of the friendship between a brooding artist (Kenneth Branagh) and a young woman with Lou…
Better call out the symbol police. And tell them to bring heavy weapons. Jesse Peretz’s First Love, Last Rites, a tale of young love and early disillusionment set in the overheated Louisiana bayou country, features an unseen rat gnawing away, all movie long, at the woodwork of a one-room house…
Go ahead. Drop a tab or two of windowpane before setting out to see Lance Mungia’s Six-String Samurai. A hit at Park City, Utah’s alternative Slamdance Film Festival this year, Mungia’s no-budget first feature is a trippy melange of many movies, everything from Mad Max to Star Wars to the…
The ants in Antz show a lot of personality. The film is the best example yet of how a fully animated computer-generated feature can delineate facial movement. Toy Story (1995), the first such feature to be released, was brasher and more child-friendly, but Antz is more of a–how shall I…
As a professional lamenter of how “they just don’t make ’em like they used to,” I am always thrilled on those rare occasions when someone even tries to make ’em that way. So I am doubly thrilled that with The Impostors, writer-director Stanley Tucci has tried and richly succeeded. Those…
