John Schiappa, Sharr White, Daniel Stern and Laurie Metcalf - John Schiappa, Sharr White, Daniel Stern, Laurie Metcalf New York, United States Opening night curtain call for 'The Other Place' at the Manhattan Theatre Club Thursday 10th January 2013
There's an odd sense of dragging in the middle, and some of the action sequences feel like they never quite crank up to high gear.
On the other hand, the film is a series of gorgeously conceived set pieces and terrific character interaction and, unlike newer films, it's not afraid to get a bit grim. Stinky Pete's character is especially well-realised, right through to the anarchic closing-credit outtakes. As with most good sequels, the secret is to create strong new characters, and Stinky Pete certainly does that. It's also great to have Barbie in this world.
Continue reading: Toy Story 2 [in 3D] Review
Now that they're all one company, I'm not sure what the future holds for Disney's in-house animation studio, but Meet the Robinsons will probably be the best thing it ever produces, no matter what happens at this point. But that's not damning with faint praise: Meet the Robinsons is really a great film that I unilaterally recommend.
Continue reading: Meet the Robinsons Review
Beer League is a loose collection of threads of plot surrounding Artie: His baseball team is so rowdy they are threatened with expulsion from the league unless they can beat their arch-rivals. He's got girl trouble with "used goods" Linda (the impossibly gorgeous Cara Buono). And he's throwing a bachelor party, which is bound to get him into trouble.
Continue reading: Beer League Review
Thank God! Almost as good as the original, Toy Story 2 is an unabashed crowd-pleaser to children and adults. With enough (non-offensive) adult humor and plenty of good-natured kid stuff, this film had our tiny audience in stitches from start to finish.
Continue reading: Toy Story 2 Review
So give it a chance. November 22, 2003 marks the 40th anniversary of the death of John F. Kennedy, and there's no better way to look back than with a screening of Oliver Stone's thoughtful and exhaustive study of Jim Garrison's (Kevin Costner) investigation into the president's assassination. Stone's masterpiece has now been reissued on DVD in Stone's director's cut, with 17 minutes of restored footage that Camelot enthusiasts should find rewarding -- the same version as the previous DVD release. (Included among the restored scenes is a long passage about George DeMohrenschildt, a Nazi sympathizer who befriended Lee Harvey Oswald (Gary Oldman) and later betrayed him to the Warren Commission. There's more about Bill Broussard's (Michael Rooker) defection, and a scene of Garrison later being accosted in an airport. Extra witnesses are paraded through the final courtroom scene, and, most peculiarly, there's a restored sequence of Garrison's appearance on the gaudy The Jerry Johnson Show, with John Larroquette as the smarmy host.)
Continue reading: JFK Review
Ha! I got you. You thought it would be "Good Sequel," didn't you? The reason I say Flying Camel is because, in an ordinary universe, Flying Camels do exist (although they do in Wim Wenders' The End of Violence). In the ordinary universe, good sequels are just as rare.
Continue reading: Scream 2 Review
Continue reading: Chicago Cab Review
Figgis, who earned a Best Director Oscar nomination for Leaving Las Vegas in 1996, appears to have gone a little funny in the head last year with his inexplicable and nearly dialogue-free The Loss of Sexual Innocence. Now he's fully gone off the deep end with what may be the most ambitious experiment ever: Time Code.
Continue reading: Time Code Review
Perhaps the most extraordinary experimental film ever unleashed outside the confines of the art house circuit, "Time Code" is a confident and daring attempt by director Mike Figgis ("Leaving Las Vegas," "The Loss of Sexual Innocence") to plant his flag on the barely-explored shores of 21st Century filmmaking.
Shooting on hand-held digital video in four continuous takes all running at once, Figgis splits the screen in quadrants like a security camera monitor and fiddles with the audio to draw your eye where he wants it. Then like an orchestral conductor, he unspools a precisely synchronized 93 minutes of raw, unedited, real-time footage, tracking multiple, largely-improvised narratives about a sampling of misanthropic, self-absorbed Hollywood denizens.
Packed with talented, name stars starving for something original to chew on, "Time Code's" has several stories -- some tense and emotional, others cynical and facetious -- unfolding simultaneously and often crossing paths.
Continue reading: Time Code Review