Gil Cates takes a long, deep breath before answering the question: Is producing the Academy Awards show the ultimate no-win situation? Cates has produced nine of the past 11 Oscar telecasts, and he returns March 25 after a year’s layoff; for those scoring at home, Cates is not to blame…
With luck Yi Yi (A One and a Two), the seventh release from writer-director Edward Yang, one of Taiwan’s most respected filmmakers, will open a vein of interest in Taiwan’s cinema, but it will be an uphill struggle. While it’s a rich and rewarding film, its pace is more leisurely…
The somber figure of Ingmar Bergman no longer looms over the film world like a guilty conscience, but the great Swedish director has spawned enough artistic descendents to keep us supplied with thorny philosophical and ethical questions for decades to come. Faithless, the second film that actress Liv Ullmann has…
To keep it simple, Enemy at the Gates plays like a cross between the PlayStation game Medal of Honor, a World War II Nazi-shoot-’em-up viewed through a sniper’s scope, and a Harlequin Romance novel. It’s history lesson as video game, video game as soap opera, soap opera as highbrow drama,…
In his latest film, Spectres of the Spectrum, filmmaker/archivist/pack rat Craig Baldwin creates common ground for his postmodern bricolage somewhere between the hazy vision of a corrupted techno future and the rose-colored modernism of the postwar American media. It’s not nearly as much of a stretch as you might think…
Van Gogh was a lunatic who cut off his ear. Picasso was a self-absorbed cur who abused women. Warhol turned out to be a weird, desperate loner, Basquiat a doomed junkie. Try as he might, shriveled little Toulouse-Lautrec failed miserably at romance. As for El Greco’s explosive affair with that…
Director John Herzfeld’s 1996 feature, the droll and underrated 2 Days in the Valley, was a more than adequate counterbalance to the catastrophe of his first feature, Two of a Kind, a 1983 John Travolta vehicle (which, together with Moment by Moment, put its star on the fast track from…
One can only imagine the pitch meeting at which comedian-turned-film actor Denis Leary told ABC programming execs he wanted to write and star in a show about a pill-popping, Scotch-swilling, chain-smoking, adulterous New York City cop who utters obscenities as casually as he exhales. It’ll be a 30-minute show, Leary…
Sam Hamm is, relatively speaking, a successful Hollywood screenwriter, meaning he earns his keep penning screenplays without having to subsidize his income by tending bar or waiting tables. He has to his credit a handful of films, some little known (1983’s Never Cry Wolf, his debut), some enormously profitable (1989’s…
Read Part 1, Festival of Might Featuring a cast of outstanding young actors and a pack of symbol-laden dogs, first-time director Alejandro Gonzalez Iñarritu’s urban portrait captures the daily desperation and persistent hopes of an ensemble of characters in millennial Mexico City. Economic class and personal histories clash when parallel…
There are many striking aspects to Patrice Leconte’s vivid, powerful film The Widow of St. Pierre, which screens this week at the Miami Film Festival, but the most unusual is the central relationship between a French army officer and his wife — a marriage based on passion, admiration, intimacy, and…
The festival closes as it began with an adaptation of an early twentieth-century novel by Vladimir Nabokov, The Luzhin Defence, a disappointing finale to what has been a very strong program overall. The film follows an obsessed Russian chess master, Alexander Luzhin (John Turturro), who in the late 1920s arrives…
It was to have been a routine stop on a routine press tour, yet another town in which the actress was to show up, chit and chat with the local media about her movie, then move on–the traveling salesman getting the word out, moving The Product. Denver, Dallas, San Francisco,…
On Golden PonderingLet us now praise famous filmmakers, specifically the lauded team of director James Ivory and producer Ismail Merchant, whose latest film, The Golden Bowl, headlines the Miami Film Festival. In forty years and seventeen theatrical productions, this team has compiled a superlative record of finely wrought films, almost…
With In the Mood for Love, Wong Kar-wai solidifies his stature as the subtlest and most idiosyncratic of Hong Kong directors. In an industry best known for its accessible, crowd-pleasing comedies and action films, Wong has turned out a series of increasingly risky dramas that make little or no concession…
Brazilian cinema has to be one of the most underrated sources in today’s movie industry, at least from an American perspective. While Hollywood troglodytes are only now waking up to the pleasures of Latin filmmaking, studio-level attention largely is focused on Spain and stories that can be considered “crossover.” One…
The most important thing to remember while watching La Virgen de los Sicarios (Our Lady of the Assassins) is that this is not a documentary. Because Colombia usually is represented in international cinema as the den of drug lords, it is easy to take offense at this portrayal as yet…
Sometimes, usually out on the golf course near his home in upstate New York, Dan DeCarlo feels terrific, far younger than his 81 years. He’ll thwack the ball, reflect upon his 55 years of marriage to the same beautiful woman and occasionally contemplate a life spent drawing and creating some…
The renowned South African playwright Athol Fugard has one commanding subject: his vivid social outcasts’ lifelong confrontation with the oppression of apartheid, and the nobility of their survival. In Boesman and Lena, written in 1969 as the third part of a dramatic trilogy that also included Blood Knot and Hello…
Lance Barton, thin as paper and frail as fine china, is such a horrific stand-up that during an amateur-night performance at the Apollo Theater, he is booed with so much force, he’s literally knocked off the stage. Lance’s manager insists he’s a failure because he’s afraid of being himself: Lance…
The four friends at the center of the smart 1998 Venezuelan social satire Little Thieves, Big Thieves (Cien Años de Perdon) recall the motley group of male strippers in the British sleeper The Full Monty (1997). Like the underdogs of that film, the foursome in Thieves is composed of desperate…
When the lights finally came up in the Washington, D.C., movie theater, Leonard Nimoy sat still, silent, and a bit shaken. He could scarcely believe what he had seen–and what he had not seen. The movie was beautiful, but beneath the surface sheen, there was no heart, no soul. It…
