All of these stories take place in Manhattan, with only one or two brief forays into other boroughs, and they all centre around relatively well-off people, mainly white or Asian. They're also quite serious and emotional, with only brief moments of humour dotted here and there, although some make us smile more than others. Each is about a male-female relationship--marriages, brief encounters, possibilities, life-long companionship. Most have a somewhat gimmicky twist, and a few are intriguingly oblique.
Continue reading: New York, I Love You Review
Guido Contini (Day-Lewis) is a star director gearing up for his ninth movie.
The press is begging for details, and his producer (Tognazzi) wants to see the script. But with shooting starting in 10 days, Guido has yet to write a word.
Continue reading: Nine Review
And then there is Michael Clayton, a gripping and complicated thriller with hush-hush undertones that would fit comfortably alongside similar films from the 1970s -- think of Francis Ford Coppola's The Conversation or Alan J. Pakula The Parallax View, because Clayton writer-director Tony Gilroy certainly had pictures of this fabric in mind.
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A string of robberies has plagued the ghetto of King's Cross in London. The thievery seems to be centered on an architecture firm that (no surprise) is trying to clean up and reconstruct the famed slum into something more suitable for London's middle-class. Headed by pretty boy Will (Jude Law) and scruffy Sandy (Martin Freeman), the company has an internal conflict on whether it was a member of the cleaning staff (that Sandy is sweet on) or outside burglars that committed the crimes. While attempting his own makeshift stakeout, Will spots the young robber and jumps out of his posh SUV to chase him. It leads him to the home of Amira (the luminous Juliette Binoche), a survivor of the horrors of Bosnia who yearns to return to Sarajevo with her son Miro (Rafi Gavron), the thief in question.
Continue reading: Breaking And Entering Review
Derek Luke, in a much bigger role than he is accustomed to, plays Patrick Chamusso, a supervisor at a coal-to-oil refinery in Secunda, South Africa. He's not what you would expect from an African man under apartheid; he tells his mother to turn off the rebel radio and tells the workers under him (all black) to stop talking about the current state of affairs. After an attack at the oil refinery, Patrick is brought in with his friends for questioning by Nic Vos (Tim Robbins), the head of a local police syndicate. Vos, a family man, takes it too far when he brings in Chamusso's wife (Bonnie Mbuli) and beats her to get her to confess her husband's guilt. After this event, Chamusso joins up with a resistance (terrorist) group and begins to plot a huge blow to the South African economy.
Continue reading: Catch A Fire Review
How a Polish script, a German director, an Australian lead actress, and an Italian-American actor managed to concoct such an authentic vision of the deceased French filmmaker is beyond comprehension, but they accomplished it nonetheless. Heaven looks, feels, and sounds like a Kieslowski film with its limited dialogue and slow, deliberate pacing, but it's actually the product of Tom Tykwer, who directed the acclaimed films Run Lola Run, and The Princess and the Warrior. Tykwer gives credit to Kieslowski's writing, but the cinematography, the scenes, the sound design, and the performances are a result of his decisions.
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You think I'm kidding, but I'm serious -- The English Patient has got to be the longest romance movie I've ever seen [This was before Titanic. -Ed.]. Well, Out of Africa was awfully long, too, but that doesn't make it okay! (Like your mother might say, "If Meryl Streep jumped off a cliff, would you do it too?")
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Minghella tells Mountain in two parts that fail to complement each other. In one, wounded Civil War soldier Inman (Jude Law) reaches his breaking point on Virginia's blood-soaked battlefields and decides he can't spend another day without his true love, Ada (Nicole Kidman). So he puts down his rifle and begins the long walk back to Cold Mountain, N.C. Meanwhile, back home, Ada struggles to maintain her father's house after the man passes away in a disgustingly symbolic rainstorm. She accepts help from the town tomboy (Renée Zellweger) and learns a thing or two about patience, hope, and independence in the face of danger.
Continue reading: Cold Mountain Review
If you happen to be one of a handful who has seen Noon, The Talented Mr. Ripley is retreading old ground. It's actually different. In fact, it's very different. So much so that with the exception of a few brief scenes and the overall theme, these two films could be based on different source material. What's really astonishing is that both are excellent films.
Continue reading: The Talented Mr. Ripley Review