How come cops always stomp all over the crime scene? How come, every time you watch a criminal trial, there’s some cop who drops a glob of potato salad on the bloody footprint, or leaves the fingerprint cards on the dashboard of his Chevy Nova and burns ’em up, or…
Because I usually enjoy David Letterman’s nightly talk show, I wish I could say he did a great job hosting the 67th Annual Academy Awards. I’ll admit I enjoyed some of his jokes and all of his filmed segments, particularly the “Would you like to buy a monkey” bit; between…
Before the Rain, a three-part anthology of stories from the war-torn Balkan nation of Macedonia, is as powerful and passionate an examination of war as Schindler’s List. And although there isn’t a single dull or unoriginal shot anywhere in the picture, and the film is eloquently performed by an international…
There’s a good reason why the new thriller Hideaway is proudly designated “A Film by Brett Leonard,” a name few casual moviegoers would recognize, let alone regard with high esteem. Leonard, who directed the cyberpunk-revamped movie version of Stephen King’s short story The Lawnmower Man, is a high-tech showman with…
Women are Now. Men are Later. Women wanna talk about it now. Men wanna talk about it later. Women wanna go out to eat Tonight. Men wanna go out to eat Tomorrow. Women wanna go to the beach when they Feel Like It. Men wanna go to the beach when…
In an age when virtually everyone has a prepared statement for the press–if not a calculated, image-reinforcing soundbite–it’s surprising and refreshing to find an artist who’s almost speechless when the time comes to discuss her craft. At first, it was a shock that Miranda Richardson, 1995 Oscar nominee for Best…
It’s a good bet that in any packed, claustrophobic gathering of movie buffs, some wiseacre will declare, “This reminds me of the stateroom scene in A Night at the Opera.” The scene, which occurs in the Marx Brothers’ 1935 gem, occurs aboard an ocean liner in which the brothers are…
Writer-director Tim Burton’s recent biographical film, Ed Wood, offers an easy metaphor for the state of the horror film: an elderly, decrepit Bela Lugosi (Martin Landau) dressed in his Dracula getup, now incapable of scaring even an 8-year-old trick-or-treater. The image encapsulates one of the central concerns of Burton’s films:…
This guy got his head cut off by an elevator in the Bronx. Did you hear about this? The guy’s gettin’ off the elevator, it starts to go up real fast while the door is still open. The guy loses his balance, leans toward the elevator, and it cuts his…
Set in 1817 during the aftermath of the Napoleonic wars, Colonel Chabert is about a legendary soldier presumed dead who returns home to discover that life has proceeded without him, then struggles to reclaim his identity, causing intense emotional disruptions all around him. The title character is played by the…
It’s pointless to respectfully review a film as ineptly written, indifferently directed, and slothfully performed as Just Cause, the new legal thriller about a Harvard law professor and anti-death penalty advocate (Sean Connery) who heads down south to the Florida Everglades to win freedom for condemned black murderer Bobby Earl…
Subdued, elegant, and directed with disarming simplicity, I, the Worst of All (Yo, La Peor de Todas) is the kind of historical drama whose resonance sneaks up on you. On the surface, it’s an intimate religious drama about a minor figure in Catholic history, a 17th-century Mexican writer and nun…
A distinctive voice in Texas criticism was lost February 16 when Dallas Morning News film writer Russell Smith died in his Dallas home of AIDS complications. He was 38. Born and raised in Dallas, he joined the Dallas Morning News 12 years ago, working as a copy editor and a…
Okay, I’m gonna describe this woman. She’s got fluffy blonde hair–teased, permed, and coiffed–about $300 worth. She’s got a straight nose, thin lips and large bedroomy eyes. She wears tiny pearl earrings and a simple pearl necklace that hangs down onto a tanned neck and chest. Her dress is classic–either…
Few literature students have escaped exposure to the works of T.S. Eliot. Although Eliot’s influence has waned somewhat, he represented, for the post-World War II American academic elite, a living wish-fulfillment fantasy of everything they thought a man of letters should be–Anglophilic to the extreme (he renounced his American citizenship…
The story of Leni Riefenstahl’s rise from renowned professional dancer to beloved German movie star to perhaps the greatest woman filmmaker of all time is marked by one constant–her brash, archaic, even narcissistic belief in herself and her creative abilities. Her artistic achievements, specifically her film versions of the gargantuan…
About 10 minutes into Sam Raimi’s Western The Quick and the Dead, his nomadic, gunslinging heroine, Ellen (Sharon Stone), slouches down in a rickety chair on the front porch of a saloon in the middle of Redemption, a Southwestern town so desolate even the cacti look withered, and lets a…
Informed that his interviewer saw The Quick and the Dead the night before, Sam Raimi gets excited. “How full was the theater?” he asks. “Did they clap during the exciting parts? Did they go for popcorn during the quiet parts? Did everybody generally seem to like it?” He’s told that…
First-time feature filmmaker David Frankel’s Miami Rhapsody is so fleet-footed, cheerful, and entertaining it’s tempting to dismiss it as just another piece of popcorn entertainment. But there’s clearly a certain craft–even art–to creating a motion picture that makes you feel this swoony, giddy, and grateful, and in that light, Frankel’s…
Generally speaking, directors who try to make movies in which characters represent political or philosophical beliefs have a difficult time making those people feel authentic to movie audiences. One of two things usually happens: either the filmmaker reduces the characters to strident mouthpieces (David Mamet’s adaptation of his own play…
It’s rare that an independent film manages to survive and thrive outside the realm of major Hollywood distribution companies. Yet that’s exactly what has happened with Sankofa, a bold low-budget slave epic currently making its way across North America, city by city, drawing huge and enthusiastic crowds wherever it plays…
From the fertile mind of University of North Texas film teacher Justin Wyatt (who’s also the author of High Concept, a compelling analysis of Hollywood’s blockbuster mentality) comes one of the boldest and most provocative film festivals this city has seen in a while. Titled The Cinematic Body: A Film…
