The most volatile, least easily psychoanalyzed of ’70s auteurs in Peter Biskind’s classic New Hollywood tell-all Easy Riders, Raging Bulls, William Friedkin may have mellowed since unleashing The Exorcist, sliding into box-office hell, and marrying a major studio boss. Indeed, the recovering bad-boy movie brat — now 71, believe it…
According to its publicity, bringing Robert Penn Warren’s 1946 novel All the King’s Men to the screen again has always been “a cherished dream” of executive producer James Carville — suggesting a lurking sense of payback frustration with the insubstantial legacy of the real populist Southerner Carville himself helped to…
A number of pregnant mysteries arise with the new remake of Robin Hardy’s 1973 cult-remembered genre work The Wicker Man — namely, what’s in this kind of malarkey for gender-combat provocateur Neil LaBute, and why was such a high-profile film tossed into theaters last Friday without letting critics see it…
One of the weakest and most ridiculous aspects of popular culture is its narcissistic now-ness. There’s often no then or later, and without past experience or the messy knowledge of life, modern entertainment media often seem poached in a neurotic teenage brainpan, entranced with their own ignorant tunnel vision. A…
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…
The Devil’s Sword (Mondo Macabro) Few trash movies live up to their reputation, but here’s a balls-out wonder that surpasses it. Grab a 12-pack of Bintang and cue up this jaw-unhinging slab of Indonesian sword-and-sorcery circa 1983 — a start-to-finish feast of martial arts, mullets, flying heads, vestal virgins, dry-ice…
We’ve all done it — killed an afternoon drinking in a pleasantly grungy roadhouse somewhere, boozily enjoying the illusion of having fallen off the grid, playing semi-forgotten blues songs on an outdated jukebox, and thinking aloud, See, I should capture this feeling. This should be a movie. Sobered up, we…
Winter Passing (Fox) Try this, should you be inclined to rent this downer from writer-director Adam Rapp: Skip from chapter to chapter and see whether they all don’t begin with exactly the same image, accompanied by exactly the same sound. There is always someone (usually Zooey Deschanel as a would-be…
Our anemic movie industry recycles so relentlessly that even our complaints about such plasticized repackaging come off as recycled product of its own, offered primarily to draw the line between concerned aging cinephiles and the target consumers who don’t care a whit. But still, we’ve become a culture not merely…
Coming closer even than Zhang Yimou’s House of Flying Daggers to resembling the Chinese cover art for an Iron Butterfly album, Chen Kaige’s The Promise is psychedelia extremis. Hardly a minute of it passes without a concentrated dose of digital frou-frou and lavish cartoon-poetic imagery: floating ocean goddesses, flying swordsmen,…
Calling Rian Johnson’s teen indie drama Brick a piece of stuntwork might seem tantamount to hitting it with a pie, but it’s a high-speed wheelie of a strangely daring variety. Try this thumbnail definition on for size: a high school noir, complete with a Dashiell Hammett-derived plot line and a…
There’s imported-film minimalism, and then there’s this: Fernando Eimbcke’s feature debut Duck Season, a daringly banal comedy of ennui set almost entirely in a middle-class Mexico City flat. Knocking them dead at festivals and at the Mexican Ariel Awards, where it enjoyed a Ben-Hur-like sweep, Eimbcke’s movie could become the…
You may not yet have lost your ardor and respect for the pressure-point hammer blow Quentin Tarantino executed on American movies, but it’s difficult at this late date not to view him as an imperative inoculation with unfortunate side effects: gas, bloating, dizziness, delusions of cleverness. Imitators flock when coolness…
Breasts: A Documentary (First Run) Honest, compassionate, and funny, this documentary is remarkable for the bravery of its participants, who bare their breasts as they speak about them. The film delivers 22 women of all shapes, sizes, ages, races, and orientations — all of whom have interesting, surprising things to…
Given Inside Man’s bullpen (director Spike Lee, stars Denzel Washington and Jodie Foster), moment in political history, and advertising, you could be forgiven for anticipating some kind of socially relevant, perhaps even politically volatile dramatic smashup — something with teeth, ambition, a functioning cerebrum, and a lusty relationship with reality…
“You want an easy job, go join the Red Cross,” someone says well into Thank You for Smoking, a gleeful farce about capitalist mendacity based on Christopher Buckley’s 1994 bestseller. The implication, made drummingly plain in the film’s every bon mot, is that our ethical barometers skew lazily toward goodness,…
The Tenants (Sony) Fifteen seconds into the video for “Nuthin but a ‘G’ Thang,” it was obvious that Snoop Dog had charisma to spare. More than a decade later, with his performance as ’70s-era radical author Willie Spearmint, it’s official: The man can act. Snoop’s shambling, searing performance is just…
Anyone who remembers the 1977 Wes Craven film The Hills Have Eyes, which was and remains a piece of Milwaukee-beer shit, remembers it because A) they had a memorable fuck-or-puke night at the aging neighborhood drive-in; B) Michael Berryman’s uniquely hairless mug, which glared from the video store horror sections…
Walk the Line (Fox) No matter what a junkie does with his spare time — say, redefine country music, or forge one of history’s most enduring personas — movies about junkies are a drag to watch. So it’s too bad this Johnny Cash biopic is a by-the-numbers fall-and-redemption tale. A…
Didn’t Richard Donner retire? A 1980s star-director name, among many, that should now send bolts of discouraging dread down your spine, Richard Donner may well be seeing his filmmaking skills peak with 16 Blocks — even if saying it’s his best, least flatulent, most efficient film is tantamount to saying…
