If you consider Northern Ireland to be part of Ireland proper, then An Everlasting Piece easily may be the best Irish film of the year (not that the competition was too stiff — anyone remember The Closer You Get?). If, on the other hand, you consider the six counties to…
This cinematic bonbon has all the ingredients required to spin an audience into the throes of fuzzy warmheartedness — the hope, the compassion, the joie de vivre — blended with the skill of a consummate confectioner. Much like a box of sweets with a convenient guide inside the lid, there…
The moods of Kenneth Lonergan’s You Can Count on Me are so artfully mingled that it’s difficult to get a fix on this highly personal independent feature. Set in a quiet little town in upstate New York’s lovely Catskill Mountains, it is at once a drama about the unresolved traumas…
Contained within a care package sent by C.D. Payne is a self-penned press release introducing the author as “the Rodney Dangerfield of comic novelists,” complete with a picture of the bug-eyed comedian and his shopworn catchphrase “I can’t get no respect.” As it turns out, this is the letter Payne…
Fair warning: Enough time has passed that it’s OK to discuss the ending of writer-director M. Night Shyamalan’s Unbreakable. Those who have not yet seen the film and intend to might want to keep on moving. Or perhaps not: To reveal the ending, all 180 or so seconds of it,…
Assessing the merits of Quills, the lusty new feature by director Philip Kaufman (Henry and June), it’s tempting to seek correlative characters from popular movies to illustrate just how radical this business is not. In Kaufman’s film — affectionately constructed upon a screenplay by Doug Wright, who adapts his award-winning…
What Women Want could be the first movie to win a Clio Award for Advertisement of the Year. No fewer than two dozen products receive prominent placement in the film, from Federal Express to Foster’s Lager to Cutty Sark to L’eggs panty hose to US Airways. After a while you…
Christmastime is here, but for the first time, Charlie Brown’s father will not be around to watch his depressed, round-headed child celebrate the holiday. He will not be in front of the television next week to watch his little boy seek psychiatric help from a nickel-grubbing girl who diagnoses her…
There’s bound to be a philosopher somewhere who has offered the opinion that banality, if marketed well enough, becomes the model of success. Given the spew of mediocrity that’s hyped in the media, that theory is a reasonable assumption. But there’s a corollary that’s worse. If it hasn’t been hyped,…
Documentaries have been out of fashion in the film world, though exactly what a documentary is remains debatable, at least in Hollywood circles. (Roger and Me and The Thin Blue Line did not qualify for Oscar consideration, according to the rules.) Whatever you want to call these offerings from the…
About halfway through the megabudget mountain climbing adventure Vertical Limit, even the most rugged, thrill-hungry fans of disaster movies may find themselves going numb. Not from the howling weather on the icy face of K2, in the Himalayas, where the action supposedly takes place. Not from oxygen deprivation. Not even…
Happy hooker? Femme fatale? Damsel in distress? The movies have always been fascinated with prostitutes. Most films generally portray them as resourceful, often wise and amusing, and somewhat scary, using sex in ways that both amaze and titillate (from Blue Angel on through Mighty Aphrodite). The sordid aspects of the…
If the concept of that dubious celebrity Ben Affleck romping in a water park with cinematic darling Gwyneth Paltrow and two adorable moppets does not inspire in you spasms of dizziness and nausea, then you may find plenty to tolerate in this new romantic dramedy Bounce, from writer/director Don Roos…
In 102 Dalmatians, a new brood of puppies is born, one of which, Oddball, doesn’t develop spots. The resulting feelings of inadequacy are such that the poor thing runs away from home and hides in a cave, gets bitten by a bat, and turns into a slavering mad dog. Cruella…
Unbreakable is such a quiet film that whenever a character speaks above a whisper, it sounds like the shattering of glass in a monastery. It’s also a terribly sad movie; almost no one cracks a smile or a joke, and everyone wears the look of someone who’s just spent the…
So many elements make up a boyhood, from joyful laughter and games, to purloined porno mags and pointless aggression, to the scary realization that something vital is slipping away, something that may never be reclaimed. Naturally nostalgic reflections on this magical time form the basis of countless films, with two…
The current release of French director Nicole Garcia’s Place Vendôme, which was nominated for eleven César Awards when it debuted in France two years ago, is yet another sign that the dropoff in French imports that has plagued U.S. screens in recent years is reversing. This is roughly the fifteenth…
The soon-to-be-talked-about sensations in Darren Aronofsky’s Requiem for a Dream include three or four flashing near-subliminal montages that combine an eye’s iris and dilating pupil, an extreme closeup of heroin cooking in a teaspoon, and a sucking hypodermic needle; a surpassingly frightening sequence in which Ellen Burstyn, in the midst…
At first glance Paragraph 175, a documentary by Robert Epstein and Jeffrey Friedman, doesn’t appear to be must-see moviegoing. Epstein and Friedman are well-known award-winning documentarians with a string of notable successes: The Celluloid Closet, Common Threads: Stories from the Quilt, and The Life and Times of Harvey Milk among…
No one likes to be seen as the roadblock to a revolution. The unfortunate soul–or the dumb bastard–who chooses to impede progress is likely to be mowed down by those charging toward tomorrow. He will become a thing to be wiped off the shoes of those who march, march, march…
November may mean Thanksgiving to most of you, but in the film biz, it means a rush of “serious” films trying to gouge an impression into the short memories of Oscar voters. This shouldn’t be a bad thing, but since the relationship between “Oscar” and “actual interesting filmmaking” is nearly…
Canadian filmmaker Denys Arcand (Jesus of Montreal) isn’t the first guy to skewer what Tennessee Williams called “the bitch-goddess of success.” Or to lay bare the absurdity of Andy Warhol’s fifteen minutes of fame. Or to otherwise annihilate celebrity worship. But in his observant, swiftly paced Stardom Arcand does it…
