Why anyone would want to win this contest remains a concept outside the actual narrative provided by filmmaker Marc Levin. With access to the actual figures fictionalized in Scott's crime drama, as well as an unusual amount of openness from said participants (most have done their time and are ready to rewrite history), we get the seedier side of the Me Decade in the Big Apple. Barnes describes his own pretend professionalism, taking credit for turning drug dealing into an "above board" case of supply and demand. His associates discuss their designer clothes, outlandish jewelry, and the lovely ladies that hung from their arms like erotic accessories. Thanks to some incredible archival footage, we witness the actual nude dope factories, bare-ass biz-natches cutting and bagging the killer powder.
Continue reading: Mr. Untouchable Review
Clay, like so many men before him, tries to block out the pain by intense concentration on thoughts of Jessica Alba (playing his girlfriend Sam -- though oddly enough, Clay's strongest memories reveal nothing more explicit than Alba's demurely exposed back). His focus breaks down when he overhears some, shall we say, less than reassuring words from his doctors, and from there a trapped Clay races against time, desperately attempting to alert Sam and/or his possessive mother (Lena Olin) of the danger he's in.
Continue reading: Awake Review
Based upon the 2006 rape of a 15-year-old girl and the murder of her family by a group of American troops in Mahmoudiya in Iraq, the film bears more than a passing resemblance to Casualties of War, his exploitative examination of a similar incident during the Vietnam War. In fact, it is Casualties of War.
Continue reading: Redacted Review
Nora (Posey) is a thirty-something hotel concierge specializing in VIP guests, but her life has little glamour. When not tending to the VIPs, she's home drinking red wine, popping sleeping pills, and wondering why she can't find just one nice man. A fifth-anniversary party for her best friend Audrey (Drea DeMatteo) adds insult to injury, even as her own mom (Gena Rowlands, director Zoe Cassavetes's mother) tries to cheer her up.
Continue reading: Broken English Review
Part of the problem is Hartley's distinct style, which, if you're a fan, you already know well. Characters often speak slowly, pausing pensively for dramatic or comedic effect. Conversations -- and camera angles -- are unexpectedly funny and skewed, dabbling in established genres. When this approach has purpose or emotion (as in Henry Fool), it works. When it runs in circles, as in the second-half of Fay Grim, it exists only for the "art" and can be annoying as hell.
Continue reading: Fay Grim Review
I'm not sure what director Katherine Dieckmann (best known as an R.E.M. video director) thought she was grabbing hold of here, but this melodrama (tinged with cheap gags) is all atmosphere, broad Lawn Guyland accents, and jokes at the expense of Jimmy Carter and Gerald Ford. Even the "crying Indian" makes an appearance.
Continue reading: Diggers Review
I have no idea what theaters played the film -- certainly none in my town -- but you shouldn't have much trouble finding the DVD, a medium to which this movie thoroughly belongs.
Continue reading: One Last Thing... Review
Journalist Anne Nelson wrote the play of the same name then adapted it as her first screenplay for this movie. Jim Simpson, whose only directorial credit is for a segment of Tales from the Crypt, directed it. The result is not so much a movie as it is a way to reflect on the nature of the loss we all experienced to one degree or another. In this respect, it's as universal a matter as the feelings that are still being experienced.
Continue reading: The Guys Review
This satire couldn't be more cutting edge. Former tabloid TV producer Daniel Minahan (and co-screenwriter of I Shot Andy Warhol) takes dead aim on glib, pre-packaged network formulas for success. A terse narrator (Will Arnett) offers mock-sympathetic encouragement for the contestants as well as in-depth play-by-play ring coverage. Opponents are given screen time for weepy confessions to their assigned guerrilla cameramen, dispassionately filming their fight or flight confrontations on hand-held digital video.
Continue reading: Series 7 Review
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