In fact, Oliver Stone's overblown biopic detailing the global conquests of Alexander the Great (Colin Farrell) would make a nice bookend to Wolfgang Petersen's lopsided sword-and-sandal epic. One day you'll be able to tap Netflix for the two titles and combine them for a battle-worthy double feature. You'll only need an entire weekend to wrap it up.
Continue reading: Alexander Review
Rainer Fassbinder's final film is a black-and-white ode to defeat, its questionably sane star obsessed with her own faded fame and willing to do anything to reclaim it. It doesn't seem terribly self-referential; Fassbinder was at the top of his game before he killed himself shortly after finishing the movie (curious point of trivia: Voss meets her end in an identical same fashion). Perhaps, though, it was frustration with filmmaking that led to Voss's big screen recreation -- or his frustration with life in general. (Of note: Voss is reportedly based on a real German film star, popular during the Nazi era and all but forgotten after its collapse.)
Continue reading: Veronika Voss Review
Based on Umberto Eco's dense and demanding bestseller, The Name of the Rose, is basically a love letter to Sir Arthur Conan Doyle. Unfortunately, the film version never passes up an opportunity to remind us of that fact.
Continue reading: The Name Of The Rose Review