Combine teenage angst with suburban emptiness and you’ve got a movie formula with an appreciable advantage over some other current movie formulas–particularly in the eyes of those who believe the American family has disintegrated and most of us are headed for eternal damnation. This is not to say the right-wing…
Together is the second feature from Swedish director Lukas Moodysson, whose 1998 Fucking Amal was shown here two years ago under the title Show Me Love, renamed for obvious reasons. Together is an ensemble piece–a sharp, perceptive look at a Swedish commune in a suburb of Stockholm, circa 1975. That…
Lacking the good taste to postpone the release of this silly thriller until a less volatile time in American history (assuming one ever comes), the producers of Don’t Say a Word have opted to foist upon us images of detonating New York City buildings, carefully calculated acts of violence and…
The Italian film Bread and Tulips is a first cousin once removed of the American comedy Home Alone. A tremendous hit in Italy (it won nine Donatello awards last year, the Italian equivalent of the Oscars), it concerns a woman who, on a bus holiday with her family, accidentally gets…
In the annals of social change, Alma Schindler is strictly small potatoes, and Bruce Beresford’s new biopic, Bride of the Wind, unwittingly threatens to erase her altogether. For those who don’t have the history of the Austro-Hungarian Empire at their fingertips, Alma (Sarah Wynter) was an outspoken party girl from…
Finally, here’s this season’s candidate for worst movie ever made, a distinction cherished (and frequently awarded) by the bellicose lummoxes of this trade. Be warned: Those hoping for a return to the salad days of Meatballs should commence singing “Are You Ready for the Bummer?” right about now. Even playing…
When marching-band director Tyrone Brown asks his Jackie Robinson Steppers, “Are you motivated?” he’s not so much inquiring as presenting a challenge. It’s the middle of a sweltering summer in Brooklyn’s Crown Heights neighborhood, where tensions, temptations and distractions are omnipresent. Synchronizing 60 players–while diverting some of them from becoming…
Lakeboat is a film adaptation of one of David Mamet’s earliest plays. It’s set on one of the title vessels, the broad, flat-bottomed freighters that traverse the Great Lakes, and the characters are the tough-talking crewmen. But it’s not a sailing adventure; quite the opposite, as there’s no real plot,…
The opening sequence of The Glass House gives fair warning as to what is coming, presenting us with a nubile young beauty fleeing from a man wearing a mask that looks to be left over from a concert by shock-rock band Slipknot. Naturally, this is only a movie within a…
The directorial debut of actress-turned-screenwriter Agnès Jaoui (Same Old Song, Un Air de Famille), The Taste of Others is a work of delicate observation, falling somewhere between romantic drama and comedy of manners. Mr. Castella (Jean-Pierre Bacri, the director’s husband and co-writer) is a wealthy businessman whose life leaves little…
So why is it that every time they make a movie about a nerd, the character in question is always white? What’s Hollywood trying to tell us? Caucasians have a corner on the market in failing eyesight, office jobs and undernourished physiques? Or is it legitimately a white thing: How…
Faced with yet another sports movie in which a group of lovably troubled kids triumphs over adversity, it’s easier to scoff and grumble than to feel even partially uplifted. So let’s do it; let’s scoff and grumble, at least for a moment. In Brian Robbins’ Hardball, a degenerate gambler who…
The beautiful little conceit at the heart of Brad Anderson’s Happy Accidents is that audiences will sit still once more for the crackpot notion of time travel–and in a movie that’s not science fiction. To his credit, and with an implied bow to Back to the Future and its predecessors,…
A year after Cameron Crowe climbed back aboard the tour bus for one last spin through rock’s golden days of giddy hedonism and phony heroism comes a film set a decade later, in the mid-1980s, when the parties got harder, the music got louder, and the musicians got prettier. The…
In the harsh realm where the smog burns one’s eyes all day and the night streets are disquieting at best, children are stumbling and swooping into adulthood, consequences be damned. Chain Camera delivers a group portrait of several youths from John Marshall High School in Los Angeles, located smack-dab between…
In the early ’90s, during a particularly dark time for the pro wrestling business, perennial jester and one-time Andy Kaufman accomplice Jerry “the King” Lawler proclaimed that he was going to do something that had never been done before: call play-by-play commentary on his own match. Entering the ring armed…
Chalk up another one for George Dubya. Recently, the U.S. Immigration Department refused to allow acclaimed Iranian filmmaker Jafar Panahi, director of both the Oscar-nominated The White Balloon and the Venice Film Festival Golden Lion-winner The Circle, to change planes in New York on his way from Hong Kong to…
What is it that people get out of Shakespeare’s plays? Is it the stories? The flowery dialogue? The author’s ability to capture a time and place that is foreign to us, yet familiar via the emotions of the protagonists? It probably isn’t the stories. The fact is, Shakespeare often used…
“I never saw her first step,” laments the transplanted Margit (Nastassja Kinski) to her ambitious husband, Peter (Tony Goldwyn), regarding the infant daughter they left behind in Hungary during their perilous escape from the Stalin regime. That daughter–called Suzanne, wonderfully portrayed as a glowing old-country tot by Bori Keresztri and…
There is perhaps no explanation for why the soundtrack to Joel and Ethan Coen’s O Brother, Where Art Thou?, crammed full of bluegrass standards, chain-gang echoes and lullaby melodies, has sold almost 2 million copies and sat near the top of the country charts for months. The disc has received…
Beware the filmmaker who looks through the camera’s lens and sees only himself on the other side, blowing kisses. He’s the fool who confuses “personal vision” with “jacking off,” and he’ll try every time to convince you there’s something meaningful and imaginative in the shallow and hackneyed. He is so…
After nearly a decade’s absence from the big screen, Suture auteurs Scott McGehee and David Siegel finally deliver a second feature with The Deep End, an exciting, sharply realized melodramatic film noir, based on Elizabeth Sanxay Holding’s novel The Blank Wall, which was also the source for the 1949 Max…
