Jeff Bridges is so euphorically wacked as a social dropout in The Big Lebowski that you get a secondhand high just looking at him. Padding around Venice, California, in a T-shirt that barely covers his midriff bulge, he comes off like a beach bum who bowls instead of surfs. His…
This period tale of two gamblers — Oscar, a failed minister, and Lucinda, a glassworks owner — is too wispy to be an objet d’art and too clumsy to be a toy. Its key symbol is a tiny glass teardrop known as the “Prince Rupert drop,” which can withstand a…
In these paradox-ridden times, producers in search of cutting-edge fantasies look back — they visit their boyhood or girlhood rooms and ransack their old books and videos, or peruse their studio’s property list for works that scored well in other media. In the mid-Nineties, the English company Working Title Films…
When was the last time an audience applauded a trailer and the movie lived up to it? Independence Day enticed millions with its preview shot of the White House blown to smithereens, but that film was a dumb, elephantine sci-fi pastiche. The trailer for Wag the Dog, a far more…
The ad line for As Good As It Gets is “A comedy from the heart that goes for the throat.” Isn’t this simply another way of saying, “You’ll laugh, you’ll cry, you’ll gag”? Jack Nicholson plays, of all things, a prolific romance novelist who’s a virulent xenophobe and a hopeless…
John Grisham’s The Rainmaker lulls you into the mindset you get while reading a best seller at the beach. What a sad thing to say about a Francis Ford Coppola movie! Rather than heighten your awareness the way The Conversation or The Godfather did, The Rainmaker makes you feel lazy…
Americans are the western pilgrims, who are carrying along with them that great mass of arts, sciences, vigour, and industry which began long since in the east; they will finish the great circle. — De Crevecoeur 1. The Fugue State Watching American movies in the Nineties may remind you of…
When the beautiful entomologist rips open the chest cavity of a huge bloodthirsty insect in the sci-fi nightmare Mimic, it turns into Thoracic Park. This movie, like Spielberg’s, features evolution gone haywire and dramaturgy gone to hell. In the prologue, the heroine — the reckless and courageous (or foolhardy and…
In the not-so-brave new world of independent filmmaking, low-budget movies premiere at Sundance or Cannes and win plaudits from over-psyched audiences, publicity from desperate feature writers, and distribution from boutiques that are usually subsidiaries of major studios. Right now Tarantino-style thrillers are out; crazy-clan stories and upstairs-downstairs tales are in…
Jerry Fletcher, the hero of Conspiracy Theory, is a comic, glamorous variation on Travis Bickle in Taxi Driver. Like Travis, he’s a New York cabbie obsessed with protecting a woman from the world’s hidden malignancies. Unlike Travis, Jerry snaps when he achieves sanity. Mel Gibson has been almost too willing…
187, a number favored by adolescent thugs, is the California state penal code for homicide — and a harsh sentence for all involved in this hopeless, hapless movie. The gifted Samuel L. Jackson stars as a high school teacher who cracks under the constant threat of rabid teen machismo and…
Mrs. Brown (a Cannes hit and Miramax release) is dignified to the dead max — brownish-gray in mood and look and spirit. It’s based on the true story of the platonic but controversial bond between Queen Victoria (Judi Dench) and a Highlander named John Brown (Billy Connolly), who had been…
One speech and one prop from Men in Black combine to sum up the movie. An alien in four-legged earthly form delivers the speech: “You humans, when’re you gonna learn that size doesn’t matter? Just ’cause something’s important doesn’t mean it’s not very, very small.” The most refreshing thing about…
Slapstick decadence is the dominant style at the Disney studios this summer, reaching all the way from Touchstone Pictures’ action hit Con Air to the 35th Walt Disney animated feature, Hercules. It’s a moviemaking mode that weds anything-for-a-laugh to anything-for-a-jolt, leaving imagination and authenticity in the lurch. Instead of creating…
To get into a good-lovin’ mood before each date, a college housemate of mine croaked along to Van Morrison’s “Tupelo Honey” while blasting it through his stereo. My fondness for the song survived. So as the end credits for Ulee’s Gold unrolled against the robust lyricism of Morrison belting out…
In a season of lumbering big-screen circuses, Rough Magic provides a rowdy creative sideshow. It’s the kind of haywire high-wire act that suspends the laws of science and grows more involving and comical with every artful near-fall. It’s about magic as illusion and magic as genuine miracle, and it shuffles…
On the savvy festival-and-promo tour that helped the necrophiliac Kissed net advance praise everywhere from the Atlantic Monthly to Newsweek, writer-director Lynne Stopkewich said she thought independent films should be judged on their ingenuity and daring rather than on the size of their budgets. As arts-world stump speeches go, it’s…
No one has exploited the historical-epic form better than David Lean. At his peak he used its spaciousness and breadth to develop characters with conflicting points of view, so that audiences could feel viscerally swept away, emotionally engaged, and mentally sharpened, all at once. With the help of inspired actors…
Film actors are generally said to have good chemistry or no chemistry. But bad chemistry in movies does exist, and a sleep inducer called Inventing the Abbotts is a case in point. In ascending order of age, Liv Tyler, Jennifer Connelly, and Joanna Going play Pamela, Eleanor, and Alice Abbott,…
Cult auteur David Cronenberg crashes and burns — his talent, that is — in Crash, a vain attempt at a techno-age Persona. It follows a demented explorer named Vaughan (Elias Koteas) into an insane new world where twisted metal, curvy skin, automotive oil, and bodily fluids merge in an explosive…
In the last chapter of the Star Wars trilogy, Return of the Jedi Special Edition, an intergalactic window display of creepy and cuddly critters upstages the human characters. All the conflicts are resolved between the virtuous Rebels — Luke Skywalker (Mark Hamill), Han Solo (Harrison Ford), and Princess Leia (Carrie…
Irvin Kershner’s The Empire Strikes Back, the continuation of George Lucas’s Star Wars, is a classic fantasy in its own right, and I vastly prefer it to the first film. Its textures are richer, its emotions deeper, and it’s an honest-to-Jedi movie — not a dozen jammed-together entries of a…
