Persepolis is a small landmark in feature animation. Not because of technical innovation—though it moves fluidly enough, and its drawings have a handcrafted charm forgotten in the era of the cross-promoted-to-saturation CGI-‘toon juggernauts—but because it translates a sensitive, introspective, true-to-life, “adult” comic story into moving pictures. While Robert Crumb only…
Family Guy Presents: Blue Harvest (Fox) As someone with no use for Seth MacFarlane’s potty-mouthed Simpsons rip, I’ll admit to choking out a few giggles during his Star Wars send-up — though, truth be told, it’s slightly less daring than Spaceballs and, sure, Porn Wars. Stunningly faithful to the 30-year-old…
If Diane Keaton were a comer in 2007, she’d likely be stuck in romantic comedies cooked up in movie studio test kitchens. No Godfather for her. No Annie Hall, no Shoot the Moon, no Reds. Filmmakers who now use Katherine Heigl as their go-to girl would be flummoxed by the…
“I do think the writing is pessimistic—all that stuff about life being a tragic experience,” says Angela Stark (played by newcomer Hayley Atwell) early in Woody Allen’s Cassandra’s Dream. An actress talking about the play she’s appearing in at a small London theater, Stark could just as well be describing…
It took nine years for Godzilla to rise up out of the ashes of Hiroshima and wreak his destruction on the good people of Tokyo in 1954. Here in America, it’s taken just over six years for the idea of an escapist disaster movie set on the streets of New…
Joshua (Fox) George Ratliff’s movie, a sort of satirical take on Rosemary’s Baby, came and went upon its release; seems no one got the joke about how parents (Sam Rockwell and Vera Farmiga, in this case) are scared shitless of their own children — especially the titular Joshua, played by…
Eleven months after winning the screenplay and audience awards at this year’s Sundance Film Festival, writer-director James C. Strouse’s Grace Is Gone has received a musical makeover care of Clint Eastwood, who reportedly screened the film and thought that it could do with a new original score, which he offered…
Having a child destroys your immunity to horror, real or imagined. Before the blessed event, you could laugh off The Exorcist, The Omen or any of a thousand gory shockers with some wide-eyed tyke as either the prey or the spawn of Beelzebub. Afterward you can’t even see the baby…
A great brooding thundercloud of a movie, Paul Thomas Anderson’s There Will Be Blood arrives as if from nowhere on a gust of critical acclaim, lowering over a landscape of barren mesas and hot, scrubby hills. Anderson’s epic, no less than his career, is both fearfully grandiose and wonderfully eccentric…
“You don’t meet the book when you meet the writer,” the novelist William Gibson has said. “You meet the place where it lives.” A relatively uncontroversial remark about the people who vent their imaginations on the page — no one should expect Philip Roth to sound exactly like Nathan Zuckerman…
Eastern Promises (Universal) David Cronenberg and Viggo Mortensen are becoming a Bizarro World Hitchcock/Cary Grant combo, and the world is a better (and bloodier) place for it. Chucklehead critics too smitten by Cronenberg’s “messages” dismissed this film — a vicious and brilliant exploration of the Russian mob in London —…
Blade Runner: The Final Cut (Warner Bros.): It’s the collector’s-set briefcase that seals the deal, a gunmetal-gray case that all but shouts “Completist dork!” Also: There’s damned near every single version imaginable, plus a making-of doc almost as essential as any iteration of the movie itself. Film school in a…
At this year’s Cannes Film Festival, the American painter turned filmmaker Julian Schnabel (Basquiat, Before Night Falls) won the jury’s Best Director award for The Diving Bell and the Butterfly, his French-language adaptation of the best-selling memoir by the late Elle magazine editor Jean-Dominique Bauby. Felled by a massive stroke…
In Starting Out in the Evening, a new film by Andrew Wagner, a pneumatic graduate student spreads honey over the face of the elderly New York novelist she’s trying to seduce. Later, the two will lie down on his bed with their hands by their sides, and later still, he…
It’s that time of year again. Our six critics don’t always (or often) agree, but we’ve combined their top 10 lists (allowing for ties) to pretend like they do! So without further ado, the 10 (or 15) best movies of the year, kind of: There Will Be Blood The Texas…
How tough is it for a movie to find its audience above the din of blockbuster marketing and beyond the clogged distribution pipeline? Tsai Ming-liang, the Taiwanese/Malaysian director regarded as one of the world’s greats, had two films in U.S. theaters this year, The Wayward Cloud and I Don’t Want…
Absolutely, unequivocally, this has been The Year of the Apatow: Judd got Knocked Up to the tune of $150 million (at the box office alone); the super-OK Superbad, which Apatow produced, grossed another $120 million, “gross” being the operative word; and at year’s end, he walks hard to the finish…
An acquaintance who fought in both Afghanistan and Iraq says he has no use for documentaries about George Bush’s bungling of the War on Terror. He has not and will not see a single one of the movies made about the tragic consequences of the administration’s rush to drop bombs…
The first thing you notice when you walk on to the set are the 300 extras in late-1920s period costume, seated at cafeteria tables in a holding area, gazing up at you in their wool suits (for the men) and cloche hats (for the women) as if all of this…
It was only a couple of years ago that the horror genre seemed newly resurgent, like an undead killer digging himself out of the grave. “Fresh-faced” directors such as Eli Roth, Rob Zombie, Darren Lynn Bousman and James Wan—many of whom were dubbed “The Splat Pack”—seemed poised to bring their…
Simmering below the squeamish elder-care euphemism “uncharted territory” is a fearful awareness that when it comes to dealing with the growing army of senile parents, we have no idea what the hell we’re doing. Tamara Jenkins plumbs the depths of that terror in her new film, The Savages, and jacks…
As an actor, John C. Reilly is the opposite of Mr. Cellophane. He doesn’t disappear into a role; roles disappear onto him—the unlikely porn sidekick of Boogie Nights, the inadequately adequate family man of The Hours, the cutup cowboy of A Prairie Home Companion, all stamped and imprinted with the…
