MOTHER, MAY I?

There’s something admirably gutsy about an independent filmmaker choosing mother-son incest as the subject of his first film, and making it on a shoestring with a cast of unknowns. No matter how good a picture it may be, a topic this disturbing and depressing is not the sort of thing…

KILLER B

The hero of Red Rock West–played, excellently, by Nicolas Cage–is an out-of-work ex-Marine. In the first few scenes, we are shown what a decent, standup guy he is. He refuses a buddy’s offer of a loan. And although he’s penniless and stuck in the middle of nowhere, he resists the…

LOUT OF AFRICA

In his Confessions, St. Augustine admitted that his prayer for sexual purity had often taken the form Da mihi castitatum et continentiam, sed noli modo–“Give me chastity and continency, but not yet.” Augustine’s candor puts to shame that of William Boyd, author of the comic novel A Good Man in…

SPLICE RACK

In an odd coincidence, two major films of the early ’70s are being rereleased this week, both in restored “director’s cuts.” Both are worth checking out, especially if you’ve never seen them on the big screen–and if you haven’t, it’s fair in both cases to say you haven’t seen them…

THE STONES! THE FONZ! TOY TOUR BUSES!

If you must hate someone, if you must point a finger of blame, if you must direct the seething waves of unspeakable anger that have been washing over you since hearing the news that the Rolling Stones have canceled their Phoenix dates, then the people of Oakland, California, should be…

SLAY RIDE

The first few shots in Natural Born Killers are of creatures to which the title can be applied without moral judgment. A hawk glares at the desert; a rattlesnake gazes into the camera with a dull, ill face. Then the scene shifts to a roadside diner, where the central characters–Mickey…

CANDY’S LAST STAND

John Candy, who died during the filming of Wagons East!, was a great movie comedian who never quite made a great movie comedy. Sadder, even, than the failure of the mostly feeble Wagons East! to break that streak is watching Candy’s weary, joyless performance. This may be his only film…

GIRLS N THE HOOD

Allison Anders’ first solo directing credit, Gas, Food, Lodging, about a single woman raising two daughters in a small Southwestern town, was overrated. It was pretty to look at, but dramatically thin and clich. Her new film, Mi Vida Loca, is even better to look at, and it has a…

SPAIN RELIEVER

Several people walked out of the Barcelona screening I attended. I could only assume they disliked the talkiness and slow pace of this mild comedy of manners, which recounts the romantic adventures of a couple of Americans living abroad in the early 80s. There’s a fine touch of irony to…

A REEL TURNOFF

My Life’s in Turnaround, a low-budget movie by two slacker types about two slacker types trying to make a low-budget movie, is subtitled Based on a True Story. This same joke was the punch line of Mel Brooks’ most neglected film, Silent Movie. The hero (Brooks) is a director who…

FORD’S NON-PERFORMANCE VEHICLE

Not having read the books, I can’t say if the film versions of Tom Clancy’s Jack Ryan novels have been faithful. Based on the content of the movies, I can see no evidence that unfaithfulness would constitute a crime against world literature. This was especially true of The Hunt for…

SHAVING GRACE

After a successful run last season at Theater Works’ small Glendale playhouse, Sweeney Todd, Stephen Sondheim’s story of the razor-wielding barber who cuts throats as his part in the meat-pie business, is now in Herberger Theater Center’s Center Stage. Director David Wo has brought some members of the original Glendale…

THE PARENT TRIPE

Out of every five people you meet, four feel that their mothers and/or fathers were wretched failures as parents. The sentiment can be kind of funny when you hear it from some stupid kid, but it isn’t funny at all when–as is often the case–it has dogged and haunted the…

DOG-AND-PONY SHOWS

After human beings, the cinema probably doesn’t have a greater visual subject, among living creatures, than the horse. I say this as no particular horse fancier in real life, but as an admirer of horses in movies, a medium far more suited to the beauties of the species than painting…

WHOLE LOTTO LOVE

Comedy director Andrew Bergman, who broke in working on scripts for Mel Brooks, is gifted but uneven. In 1990, he wrote and directed The Freshman, a piece of glittering nuttiness built around a beautiful, career-consummating performance by Marlon Brando. The film could only have been the work of an audacious…

JEJUNE IS BUSTING OUT ALL OVER

After seeing Foreign Student, you may want to talk yourself into the idea that it’s a put-on of some sort. Intended as a weeper of the “Ah, my lost youth . . .” variety, it centers on Phillippe, a young Parisian guy who comes to a college in rural Virginia…

LIGHTS! CAMERON! ACTION!

Hooray for Hollywood, I guess. From what other source can one see Jamie Lee Curtis and Tia Carrere, both in slinky evening wear, having a yowling catfight in the back seat of a black limousine with a dead driver speeding toward a blown-up bridge while a helicopter descends from above?…

THE BOY WHO KNEW TOO MUCH

With movie adaptations of John Grisham potboilers, the third time has proved the charm. The Firm was limp, and The Pelican Brief wasn’t brief enough. The Client is nothing remotely special, just a routine legal melodrama with some major improbabilities flopping around in it. But director Joel Schumacher, abetted by…

REELING IN THE YEARS

At the beginning of Forrest Gump, a tiny white feather flits in the breeze above Savannah, Georgia. As the credits end, the feather comes to rest on the ground, between the sneaker-shod feet of the title character, who’s waiting at a bus stop. This sequence illustrates the theme of the…

RAP FINK

The beauty of This Is Spinal Tap, Rob Reiner’s first and best work as a director, was that it simultaneously zapped the pretensions both of a species of pop music and of a species of cinema. Heavy metal got an affectionate working over from the film, a sham documentary supposedly…

THE NUTTY CONFESSOR

“You either go mad or you learn about metaphors.” Allie Light, who made this remark, has done both. Years after being hospitalized for extreme depression, the San Francisco woman became a filmmaker. Her latest is Dialogues With Madwomen, and in addition to directing this unconventional and touching documentary, she is…