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,…
Henry Jaglom offers everything that Americans hate about French cinema — the foppish characters, the glacial pace — but with little of their philosophical depth or visual daring. Additionally, he regurgitates the annoying qualities of Woody Allen’s films — the self-absorption, the feigned feminism, the pretentiousness — without remotely approaching…
The flimsiest hustle in movie promotion today is that independent films are starved for mainstream attention. The truth is that such films often have an open field when it comes to big-city media. Major studios are usually unable to deliver a finished print of a would-be blockbuster until two or…
In the production notes for Spike Lee’s new He Got Game, the filmmaker is quoted as saying, “I don’t think I’ve ever done a film that is just about one thing….” That’s true: Usually he’s able to cram in two or three things. In He Got Game, for example, there…
Victor Hugo’s 1862 novel Les Miserables, which he began in 1845, runs to around 1500 pages in most editions. The most recent film version — there have been five other adaptations for movies or television — runs a bit under two and a half hours. It’s an expert piece of…
With I Love You, Don’t Touch Me!, first-time filmmaker Julie Davis has made a low-budget movie about love and abstinence among under-30s that takes its cues less from the work of her generational peers — Noah Baumbach’s Kicking and Screaming (1995) or Kevin Smith’s Chasing Amy (1997), for instance –…
Gwyneth Paltrow gets another chance to show off her letter-perfect English accent in Sliding Doors, an engaging romantic comedy that employs a rather novel narrative device: After introducing the main characters and setting up the basic story, the film splits into two separate but parallel plot lines. It’s a twist…
In writer-director James Toback’s quicksilver sex comedy Two Girls and a Guy, Robert Downey, Jr., plays Blake Allen, a struggling New York City actor who lives in a spacious loft in SoHo that he probably can’t afford. He’s a pampered prince who has worked out for himself a cozy romantic…
The John Grisham industry has claimed another heavyweight. Late in 1997 Francis Ford Coppola delivered up John Grisham’s The Rainmaker, and now Robert Altman sails into view with The Gingerbread Man, based on an “original” Grisham story, although it’s basically a recycling of other Grisham recyclings. Who would have guessed…
From its very first frame, Neil Jordan’s The Butcher Boy whooshes us inside the rollicking, deranged world of twelve-year-old Francie Brady (Eamonn Owens). Francie is a redheaded rascal who lives with his alcoholic “Da” (Stephen Rea) and screw-loose mother (Aisling O’Sullivan) in a small town in the north of Ireland…
If nothing else, The Big One, the current edition of Michael Moore’s continuing self-love fest, has a great subject: the desperation hidden inside a “thriving” U.S. economy. While politicians and financial wizards point to unemployment on the wane and profits on the rise, Moore notes that the largest employer in…
When you think about how some of the smartest, most surprising films about women have been made by men — and vice versa — you start to realize that directors should dare to speak for the other gender more often. Few filmmakers know the ritual bonds and betrayals of men…
Lovers of American movies used to joke that foreign films wouldn’t seem so good if you saw them without subtitles. John Sayles’s new movie Men with Guns plays better than his previous films because it does have subtitles. Bald dialogue always sounds better in Spanish or in Indian dialects. Set…
Though critics often compared Virginia Woolf’s nonlinear, almost Cubist narratives to the then burgeoning cinema’s use of montage, closeups, flashbacks, tracking shots, and rapid cuts, the strength of Woolf’s novels lies in the rhythm of her arresting style, and in her heroines’ poignant and melancholic musings, which insidiously seep through…
Probably every film director itches to make a Western, so let’s be thankful that, with The Newton Boys, Richard Linklater has scratched his itch. Now he can go back to making movies about subjects he has some genuine feeling for. Linklater should not be begrudged his chance to “stretch.” But…
In his 1993 book Sarajevo: A War Journal, the Bosnian journalist Zlatko Dizdarevic reported about an eleven-year-old child who was waiting in line for water when snipers killed his mother and father: “After the shooting, this boy started to fetch and pour water over the bodies of his dead parents…
If ever there was a movie destined to be written about in an “elevated” realm beyond the movie pages, it’s Primary Colors. Thanks to Monica Lewinsky and Paula Jones, the Hollywood-Washington nexus has lifted director Mike Nichols’s picture, based on the 1996 bestseller by Joe Klein, into a higher stratosphere…
Dangerous Beauty presents a sixteenth-century Venice filled with statesmen who hop from bed to bed without fear of “bimbo eruptions.” That’s because the courtesans aren’t bimbos, and they aren’t hidden: Everyone from the admiralty to the bishopric patronizes them. Having developed their minds along with their erotic skills, they’re boon…
British actor Gary Oldman, who made his mark playing a punk in 1986’s Sid and Nancy and a playwright in 1987’s Prick Up Your Ears, wrote and directed Nil By Mouth, which has already drawn comparisons to the class-conscious dramas of Mike Leigh (Naked, Secrets & Lies). The film, which…
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…
Palmetto is a film noir set in a torpid seaside Florida town. It’s based on the 1961 James Hadley Chase novel Just Another Sucker, and when we first see Harry Barber (Woody Harrelson), he fits that description exactly. He looks dazed and confused — a sucker incarnate. Suckers are, of…
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,…
