From its wink-wink, nudge-nudge, movie-within-a-movie opening through to its boldfaced quoting of such classic Hollywood farces as The Lady Eve and His Girl Friday, Nancy Meyers’ The Holiday wants us to know that it’s different from the kind of rom-com pablum that fills the multiplexes these days. And it is…
“T.I.A.,” mutters Danny Archer (Leonardo DiCaprio), slouched across a bar in Sierra Leone. It is 1999. As the West obsesses over Clinton’s blowjob, the West African nation is mired in a savage civil war. Our hero, a world-weary soldier of fortune, has struck up a conversation with Maddy Bowen (Jennifer…
No, the Virgin Mary doesn’t get high on aerosol fumes, and Joseph doesn’t ride in on a skateboard, but in most other respects, The Nativity Story is less of a departure for Thirteen and Lords of Dogtown director Catherine Hardwicke than one would have imagined. From our first glimpse of…
A dozen years ago, Kelly Reichardt made her feature debut with a wonderfully desultory, nearly avant-garde riff on the last romantic couple. Reichardt’s River of Grass was a comic, slacker Bonnie and Clyde, set on the edge of the Everglades. Her belated follow-up, the more elegiac but no less site-specific…
For Your Consideration pulls off the neat trick of skewering the movie industry while remaking it in its own image. The latest ensemble comedy by Christopher Guest and company may take place in Los Angeles, but its imaginative provenance lies somewhere between the La-La Lands of Entourage and Mulholland Dr…
For progressives lifted, however temporarily, by the swell of a turning tide, Bobby can be seen clearly for what it is — an Airport movie with the assassination of Robert F. Kennedy as the central calamity and an all-star cast deployed like multiple George Kennedys. Juggling some 22 main characters…
Solemn, flashy, and flabbergasting, The Fountain — adapted by Darren Aronofsky from his own graphic novel — should really be called “The Shpritz.” The premise is lachrymose, the sets are clammy, and the metaphysics all wet. The screen is awash in spiraling nebulae and misty points of light, with the…
Okay, so Jerry Bruckheimer and Tony Scott were asking for it by naming their latest mega-production Déjà Vu. These dudes aren’t exactly paragons of innovation, unless taking rhetorical hysteria to awesome new heights counts. As the opening credits roll — by which of course I mean roll, zip, flicker, fade,…
The first few minutes of Tenacious D in The Pick of Destiny are something to behold: a four-minute rock opera cranked to 11. A doughy young boy with dirty-mop locks (Nacho Libre’s Troy Gentile, once more playing lil’ Jack Black) laments his tragic plight: He’s stuck in Kickapoo with “a…
Do artists actually see more than ordinary people? That’s what my high school art teacher thought. So, apparently, does Nicole Kidman — or at least that’s the way she plays Diane Arbus (1923-71) in the celebrated photographer’s exceedingly curious “imaginary portrait,” Fur. Kidman acted around a prosthetic proboscis to win…
Fast Food Nation, directed by Richard Linklater from Eric Schlosser’s 2001 best-selling exposé of the McDonald’s conspiracy, is an anti-commercial. It’s designed to kill desire and deprogram the viewer’s appetite. Linklater — who, along with Steven Soderbergh and Gus Van Sant, has staked out a particular outpost on the indie-studio…
By all rights, 2002’s Die Another Day should have been and could have been the final James Bond film. It was packaged like a cynical, weary best-of concert coughed up by an aging dinosaur, offering copious nods to the franchise’s past without bothering to offer any new material of consequence…
Having animals act like humans on film is a storytelling device as old as time, so maybe it’s a little unfair to get tired of it just now. But back in the day, wise old owls didn’t sing “Boogie Wonderland.” And whereas we used to give animals human souls, now…
Once an actor gets big enough to take whatever kind of role he wants, it makes sense that the biggest stretch imaginable, given his current situation, is the part of a powerless man with no control over the world around him. Call it a “nice” movie — a vehicle designed…
Pity Max Skinner, emasculated over his lamb chops. On a gray afternoon, at London’s hot spot du jour, his gloating superior unveils a plot to poach his most lucrative client, divesting him of a six-figure bonus (pounds sterling) in the process. Fuck it. The bummed-out bond trader hands in a…
Manufactured history guarantees a manufactured controversy: Gabriel Range’s Death of a President, which docudramatizes the 2007 assassination of George W. Bush, has been preceded by a long, raucous fanfare. Excoriated on talk radio, damned as a snuff film, banned by two theater chains, the British production has also garnered celebrity…
Time perhaps scrambling it’s for Alejandro González Iñárritu to stop his narratives. After making an exciting debut in 2000 with Amores Perros — a movie whose gimmicky, Tarantino-esque tinkering with structure seemed fresher en español and grounded in gritty Mexico City location shooting — González Iñárritu apparently decided to devote…
Ed Harris as Beethoven? The man who would be John Glenn is hardly the most instinctive choice to play the legendary composer, especially if you recall Gary Oldman’s performance in Immortal Beloved. Oldman embodied the maestro. Still, as Jackson Pollock in Pollock, Harris did bring to life a tormented, alcoholic…
Of all the hundreds of pedophile priests to be flushed out of the woodwork in recent Catholic Church history, Father Oliver O’Grady has to be one of the most harmless looking, and the most sinister. Wispy, unremarkable and accommodating, with an ingratiating half-smile playing permanently about his thin lips, Father…
Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan is funnier than its malapropistic title — the audience with whom I saw the movie wasn’t laughing so much as howling — and even more difficult to parse. Eyes wide, face fixed in an avid grin, Sacha Baron…
Milestone in Motion Picture History: On Halloween weekend, 2006, Saw III grossed $34.3 million to become the Iraq war era’s bloodiest chart-topping torture movie whose victims don’t include Jesus of Nazareth. God or Jack Valenti only knows how this work of pure entertainment got away with an R rating “for…
“I guess it doesn’t matter where I begin,” reasons the adult narrator of Running With Scissors, the inevitable Oscar contender adapted from Augusten Burroughs’ wacky memoir of coming out as a gay teen in his adoptive guru’s carnivalesque commune. “No one is gonna believe me anyway.” No one? In fact,…
