Denmark was the first Scandinavian country to have a film industry, but with the exception of the revered Carl Dreyer (The Passion of Joan of Arc, Ordet), whose career lasted from the middle silent era through the Sixties, the nation’s filmmakers until recently functioned in the shadow of Swedish directors…

Old-fashioned romantic comedies are an endangered species, and in these generally unromantic days it’s always a pleasant surprise to find a decent one like Nora Ephron’s You’ve Got Mail. Ephron, of course, made her bones five and a half years ago with the huge hit Sleepless in Seattle, but since…

Here we go again. Enemy of the State is Fascism in America 1998, Chapter Four … or Five … or whatever we’re up to. It readily invites comparison to The Siege, but for better or worse its goals are more mundane. While The Siege seems like an ideological agenda driving…

JUMP INFORMATION APPENDED FROM FILE C:NEP32DAYS1203199812030101.NVT According to the sparse information available in standard reference books, Chilean expatriate director Raul Ruiz, still in his late fifties, has made more than 100 films since 1960; apparently only 50 or so are features, but that’s still an impressive stat. Although he’s been…

American History X, a hard-edged look at American neo-Nazis, arrives in theaters with a lot of behind-the-scenes baggage: First-time director Tony Kaye engaged in a protracted, high-profile battle with distributor-producer New Line Cinema over the film’s final form. While Kaye may have a justified grievance, this is not as clear-cut…

First, a disclaimer: Having missed last year’s I Know What You Did Last Summer, I deliberately put off seeing it until I had seen the the sequel, I Still Know What You Did Last Summer. That way I could view part two without prejudice, and be able to judge whether…

Fascism is in the air. Well, at least it’s on movie screens. In a two-week stretch we’ve seen old Nazis (Life Is Beautiful), old Nazis training neo-Nazis (Apt Pupil), book burning (Pleasantville), and now, with The Siege, a story of full-blown military rule on American soil. Still in the wings:…

As a professional lamenter of how “they just don’t make ’em like they used to,” I am always thrilled on those rare occasions that someone even tries to make ’em that way. So I am doubly thrilled that, with The Impostors, writer-director Stanley Tucci has tried and richly succeeded. Those…

Back in the early Seventies, when John Waters made his first splash with low-budget gross-outs such as Pink Flamingos and Multiple Maniacs, who would have guessed that someday he’d be making a Hollywood film as benevolent as Pecker? In retrospect, maybe we shouldn’t be surprised. If any director has ever…

Jackie Chan’s American fans (and I include myself among them) have suffered through a nervous 1998 so far. The momentum the star earned with the 1996 release of Rumble in the Bronx has seemed to dissipate steadily: An Alan Smithee Film: Burn Hollywood Burn, the first American production to employ…

After a summer filled with third-rate pulp, Blade arrives with a pedigree that suggests first-rate pulp: characters and situations lifted from Marvel Comics; a screenplay by David S. Goyer, who earlier this year gave us the transcendent pulp masterpiece Dark City; and the presence (as star and producer) of the…

There will always be a Britain, and very likely there will always be movies about the pluck and sacrifice demonstrated by the little people during World War II. Not Billy Barty-type little people — though surely there must have been a few of them involved — but the simple, salt-of-the-earth…

The X-Files is a movie that answers questions…. No, wait a minute: The X-Files is a movie that asks questions…. All right, The X-Files is a movie that makes me wanna ask some questions, like: What the hell does “Fight the future” mean? Look, I can understand “The truth is…

Only one week after lizards crawled across the country’s screens in Godzilla and Fear and Loathing in Las Vegas, along comes the bloated Hope Floats, toting a barge full of saccharine sentimentality and bogus emotions. Let’s start with the title, two words whose juxtaposition is neither evocative nor yielding of…

The Horse Whisperer, the latest from Robert Redford — and the first of his directorial efforts in which he also stars — could almost serve as a compendium of Redford’s best and worst filmmaking tendencies. It features his eye for gorgeous, pictorial vistas, his straightforward narrative approach, and, most important,…

The science-fiction writing of the late great Philip K. Dick hasn’t been particularly well-served on-screen. The most recent adaptation of one of his works, Screamers, was junk; Total Recall (1990) had its moments but was less ingenious by half than the short story on which it was based. Blade Runner…

Back in the Sixties and Seventies, when its animation unit was in the doldrums, the Disney studio made a number of genuinely funny live-action “family” comedies (1976’s No Deposit, No Return and 1977’s Freaky Friday, among them) that were, within their limited ambitions, genuinely funny. The studio’s most recent film,…

When Quentin Tarantino started up his boutique releasing company Rolling Thunder in 1996, his first release was, unsurprisingly, a Hong Kong production. After all, Tarantino has been one of the most vocal boosters of Hong Kong cinema in the United States. What was surprising was that he chose to release…

After Santa’s overstuffed sack of Oscar qualifiers is disgorged every December, Hollywood dumps its lost-cause features during the first few weeks of the new year. In recent times these have included the airplane “thriller” Turbulence (1997), Bio-Dome and Two If by Sea (1996), and Cabin Boy (1994). This year we’ve…

With 1994’s Exotica, Atom Egoyan secured his reputation as Canada’s leading director; his new film, The Sweet Hereafter, based on a celebrated novel by Russell Banks, should solidify Egoyan’s hold on that title. Egoyan’s work in general is small-scale enough to seem arty and plain enough to be accessible. The…

Now that the Japanese Tora-san series — with 50-odd entries in 30 years — has presumably drawn to a close after the death last year of star Kiyoshi Atsumi, the James Bond films constitute the longest-running series around. They’ve had their ups and downs, but something about the Bond formula…

Wes Craven’s Scream, which opened almost exactly a year ago, was the surprise hit of an overcrowded Christmas season. The success was a triumph partly of counterprogramming: In the midst of a glut of classy Oscar contenders, Scream was the only teen horror film. It was also helped by the…