There is fact, and there is cinema. If the two happen to meet, you’d damned sure better guarantee the filmmaker understands the emotional essence of the story. That way, the documented events will be portrayed with an effective urgency. Stonewall purports to take the events of June 1969 and personalize…
Film history is strewn with the corpses of underappreciated artists and overappreciated craftsmen. This is not a point over which to become sanguine; rather, it is a simple fact of cinematic life, predictable as the tides. What is less predictable, however, is which directors will fall into which category–and when…
Before the USA Film Festival’s arrival last year–its Silver Anniversary–the pre-festival buzz was a mix of hype, anticipation, and dread. Its young, newly anointed artistic director, Alonso Duralde, had held the post for only four months, didn’t have a shred of experience, and was forced to start from scratch in…
This year, the USA Film Festival introduces a new series called “Cinema on Film” that peeks at the glistening guts of filmmaking as the medium turns 100. But unfortunately, ticket buyers can’t savor the two best documentaries in this series–profiles that scrape away the paunchy, narcissistic hide of two filmmakers…
Nightjohn, the new film by acclaimed director Charles Burnett, recounts the mythical journeys of an escaped slave named John (Carl Lumbly) who returns to bondage after having learned to read. With his intellect freed by literacy, he undertakes a mission–to liberate others from the bondage of ignorance. He envisions that…
The standard definition of “documentary” seems inadequate to describe Mark Rappaport’s intriguing new nonfiction film, From the Journals of Jean Seberg. It doesn’t subscribe to the usual documentary conventions, coming closer in style and structure to performance art. Although it features clips from Seberg’s films, it also has plenty of…
In Rebel Without a Cause, James Dean, when asked by an adult what he’s rebelling against, spits back, “Whaddaya got?” And with those words, Dean became a voice for his day’s youth culture, an aimless teen looking for some tangible image to which he could cling to justify the emotions…
There are certain names on a video box that just cry out: “Rent me! Rent me! Rent me!” I guess for some people it’s Mira “Thank You, Daddy” Sorvino, but for me there’s nothing like a good Brigitte Nielsen video. Will she have hair? What color will it be? Will…
When a Los Angeles publicist for a major Hollywood studio asks, “Which Kid do you want to interview?” the choice is tough. Two days apart, two different staffers in Paramount’s L.A. publicity office called with offers to chat with any of the five Kids in the Hall about the feature…
The original screen version of Jane Eyre, released in 1944–with Joan Fontaine and Orson Welles, both at the height of their powers–is one of the minor masterpieces of the studio system’s Golden Age. Like all the best Victorian pictures of the time (The Heiress, Gaslight, and others) the entire production…
Have you noticed how there’s been a backlash against the use of stunt breasts? Guys are deciding that they’re not that crazy about artificial breastskis anymore. There are only so many Silicone Sacs you can look at before you go: “You know what? I knew this girl who had breasts…
On an uncharacteristically chilly morning in March, writer-director David O. Russell looks every bit the brooding auteur: uncombed black hair stands up in patches all over his head; flinty brown eyes manage to penetrate and deflect every bold question. Russell doesn’t take his image seriously, but he’s earned it in…
Most domestic dramas fall into two types: The profound kind tends to be confrontational and even loud, where the true characters of the participants are forged in an intense furnace of conflict, and big emotions get played out for everyone to see. The gentle kind has conflict, too, but the…
First came topless dancing. Then came table dancing. (This doesn’t mean the tables dance, it means the girls dance on your table or at your table, even though sometimes the table is more attractive than the girl.) Then came couch dancing. And couch dancing begat lap dancing. I think the…
Diabolique, the black-and-white 1955 French classic from director Henri Georges Clouzot, seems like a murder thriller, but it’s much closer in tone to a ghost story. The callous headmaster of a boys’ school cheats on his prim wife Mia (played by the director’s own wife, Vera Clouzot) with the more…
As Antonia’s Line begins, Antonia (Willeke van Ammelrooy) is 88, and fully aware that she will be dead by the end of the day. As a kind of final purification, she fondly recounts the events of her life, beginning with her return 40 years ago to the village in the…
What is this deal with three people in bed? I’ve reviewed at least 10 movies in the last two years in which people are aardvarking around in weird combinations, making the sign of the triple-snouted octopus with so many arms and legs flopping around on the bed covers that you…
When is a kid’s film not for kids? When it uses child characters to portray universal adult dilemmas, when one simple but philosophically profound problem propels all the action, and when a witty script attempts to capture the foibles of grownups in all their childish (or, more accurately, unchildlike) guile…
Among my most cherished television memories are the outrageous movie parodies shown almost weekly on the old Carol Burnett Show. Burnett’s staff had a genius for writing those bits–distilling a two-hour movie down to its essential characters, events, and motivations, then extracting from what was left 15 minutes worth of…
Movies hold a special, sentimental place in Giuseppe Tornatore’s heart. His second feature, 1988’s Cinema Paradiso, was the loving counterpoint to more somber films like The Last Picture Show. By providing escape from the dangers and despair of rural living in post-war Italy, moviegoing served two functions: one as entertainment,…
I recently made up with my girlfriend, Cherry Dilday–for the 37th time–and we were on our way to catch One Night Stand at the triple-screen Astro Drive-In on Loop 12 in Dallas. I was thinking how it was really weird that nobody has ever used the title One Night Stand…
The movies of Spike Lee must present something of a nightmare to the mainstream liberal mind. He’s the most confrontational, radical-left political filmmaker of his time, and a personal friend of the most powerful pair of Michaels in entertainment (Jackson and Jordan) to boot. As a director, he glides comfortably–and…
