If, at this remove, we can imagine Vienna in the late 1890s, we behold a great imperial capital in ferment. Gustav Mahler is not only reinventing the harmonic structure of serious music, he is getting his head seriously shrunk by Sigmund Freud. Arnold Schoenberg takes painting lessons from the eroticist…
Awinning tale of sex, real estate and more or less immaculate conception, Quinceañera, as you might expect from a white-made drama about Latino life in Los Angeles’ Echo Park, threatens at first blush to be all about a pregnant teenager and a prodigal cholo in the ‘hood. Yet this saucy,…
Snakes on a Plane represents the ideal of contemporary major-studio filmmaking–which is to say, major-studio marketing. Who needs word-of-mouth screenings or critics when you can sell the four-word pitch as written on a napkin? It points to a future that takes all the guesswork out of movie-going. A major-studio release…
Apocalypse Now: The Complete Dossier (Paramount) It’s all here, more or less: the 1979 theatrical cut of Francis Ford Coppola’s harrowing and still-hypnotic Joseph Conrad-in-Vietnam adaptation, the 49-minutes-longer-but-feels-24-minutes-shorter 2001 Redux edition, Marlon Brando’s entire 17-minute “The Hollow Men” monologue, even more “lost” and deleted scenes (including a spooky-shocking one, in…
Like the shambling VW van its hapless characters steer from Albuquerque to Redondo Beach, Little Miss Sunshine is a rickety vehicle that travels mostly downhill. How this antic extended sitcom from first-time feature makers Jonathan Dayton and Valerie Faris left Sundance with an eight-figure deal and reams of enthralled press…
Bart Weiss figures that the Dallas Video Festival, of which he’s founder and director, has screened close to 3,000 offerings during the past 18 years, among them everything from giddy compendiums of global TV advertisements to conventional narratives to avant-garde animation to agit-prop docs. It is the veritable hodgepodge, a…
So you know how Parker Posey nearly always plays sarcastic, uptight smokers? In The Oh in Ohio, she finally stretches a bit: Here, she’s a sarcastic, uptight career woman…who doesn’t smoke! Also, she wears her hair down, whereas it’s usually pulled back into some kind of tightly wound style more…
Brick (Universal) Rian Johnson’s feature debut as writer-director will wind up as one of the year’s best films. A film noir set in a modern-day high school, it’s Sam Spade roaming Ridgemont High; kids get doped up and knocked up and even rubbed out while speaking pulp-novel slang, but the…
World Trade Center is about just that–the attacks on and the collapse of the twin towers on September 11, 2001. But 45 minutes in, a viewer might easily forget the movie is set during that nightmarish day. There is little talk of terrorism and scant suggestion that a mighty nation…
There is no modern-day antecedent to the movies Will Ferrell makes with writer-director Adam McKay, with whom Ferrell collaborated during their tenure at Saturday Night Live only a few years ago. To compare their offerings, Anchorman: The Legend of Ron Burgundy and the new Talladega Nights: The Ballad of Ricky…
What’s the difference between a good liar and a good storyteller? The answer, or the lack of an answer, is a mystery at the heart of The Night Listener, a muted psychological thriller adapted from the Armistead Maupin novel. A writer’s elaborate what-if scenario extrapolated from an anecdote, it’s presented…
Just in time for its U.S. release, Michael Winterbottom and Mat Whitecrossí fierce docudrama The Road to Guantanamo received a giant shot of free publicity in early June with the news that three Arab inmates at the infamous detention center in Cuba–none of whom had officially been charged with any…
Monster’s Ball producer Lee Daniels makes his directorial debut with Shadowboxer, and it couldn’t be clearer that he’s trying to follow his previous formula for success. Oscar-caliber actors? Check. Interracial sex? Plenty. A violent demise or two, all in the service of character development? Oh yes. But Daniels maybe could…
The old Lucas/Spielberg stunt of turning B-movie peekaboos into E-ticket thrill rides remains the industry standard–to the virtual exclusion of other multiplex fare, particularly when school’s out. But as not every kid who remade Raiders in Super 8 either gave up the dream or morphed into Michael Bay, there’s at…
V for Vendetta (Warner Bros.) Illustrator David Lloyd calls this adaptation of the comic he made with writer Alan Moore “very good” — so why did Moore beg to have his name removed? The intentions are noble, sure; name another big-studio blockbuster in which a government manufactures fear to keep…
Michael Mann’s Miami Vice is like a car that’s been stripped of everything but its two bucket seats and rebuilt from the ground up. The protagonists are a pair of detectives named Sonny Crockett (Colin Farrell) and Ricardo Tubbs (Jamie Foxx) and a cover of Phil Collins’ “In the Air…
The Ant Bully is based upon a very short children’s book by John Nickle, who wrote and illustrated the 1999 work all by his lonesome after years of providing illustrations for The Wall Street Journal and Sports Illustrated, not to mention other works of kiddie lit. The book, as most…
For 35 years, Woody Allen was a long shot to stray into the Bronx or Staten Island, much less the alien reaches of London. The creator of Manhattan has always been joined to his chosen borough like pastrami on rye, so when he ventured abroad last year to direct the…
Two weeks ago a colleague insisted that Superman Returns isn’t the remake of the 1978 original, as I wrote, but a reinterpretation–its melancholy flip side. Where the Christopher Reeve model was pop art and a cool breeze, the Brandon Routh version is heavy and solemn, weighed down by the burden…
It would be a mighty sweet thing to see M. Night Shyamalan as the great redemptive storyteller he clearly thinks he is–or as he portrays himself in those American Express commercials. Genuine yarn-spinning, even as a doomed ambition, is virtually extinct in American movies; what had been the system’s priority…
In the latest extravaganza from executive producers Steven Spielberg and Robert Zemeckis, millions of dollars and long hours in the digital animation studios have produced…a photorealistic, computer-animated, generic American suburb! Location costs must be getting pretty damn expensive nowadays. As Monster House begins, we follow a leaf slowly descending on…
Edison Force (Sony) Gritty cop stuff must write itself — just make sure everyone’s tough, corrupt, and talking like they stole Mickey Spillane’s thesaurus. Then cast Justin Timberlake. Screech! Employing the talented (at music) popster as a crusading journalist isn’t this lame flick’s worst flaw — merely the one you’ll…
