Even students of English history may have trouble sorting out the palace intrigues and intragovernmental conspiracies that fill Elizabeth, the handsome new production about Queen Elizabeth I’s ascension to the British throne in 1558. With the bewitching Australian actress Cate Blanchett in the title role, the film follows Elizabeth’s transformation…
For filmmaker Todd Solondz, it’s always midnight in suburbia. Life is lonely, and the natives can be hostile. In Happiness, his daring second film, the darkness engulfs victims of all ages: a boy in the throes of impending adolescence, three New Jersey sisters tormented by sex and love, an obscene…
Well, now we know why the term “bored to death” was invented. Meet Joe Black takes an interesting idea — Death assumes human form and comes to Earth to learn about human existence — and reduces it to a flat, uninspired, interminable, slow movie. Not only slow but long, a…
First, a disclaimer: Having missed last year’s I Know What You Did Last Summer, I deliberately put off seeing it until I had seen the the sequel, I Still Know What You Did Last Summer. That way I could view part two without prejudice, and be able to judge whether…
American History X, a hard-edged look at American neo-Nazis, arrives in theaters with a lot of behind-the-scenes baggage: First-time director Tony Kaye engaged in a protracted, high-profile battle with distributor-producer New Line Cinema over the film’s final form. While Kaye may have a justified grievance, this is not as clear-cut…
In 1994’s The Monster (Il Mostro), Roberto Benigni’s most recent film to gain wide American release, the Italian writer/director/star puts himself at the center of a mistaken-identity farce about a serial killer. In Life Is Beautiful (La Vita e Bella), Benigni plays a wacky, high-spirited man who convinces his young…
Fifteen minutes into Velvet Goldmine, director Todd Haynes’s love letter to England’s glam-rock scene of the late Sixties/early Seventies, the film already promises to be many things: a missing-person mystery, a meticulous period piece, an essay on sexually liberated dandyism, a quasi-musical, a portrait of a Machiavellian as aspiring pop…
Fascism is in the air. Well, at least it’s on movie screens. In a two-week stretch we’ve seen old Nazis (Life Is Beautiful), old Nazis training neo-Nazis (Apt Pupil), book burning (Pleasantville), and now, with The Siege, a story of full-blown military rule on American soil. Still in the wings:…
You don’t have to give a damn about sports to find Without Limits engrossing. Like all the best films, it is really about character. In this case the character is that of Steve Prefontaine, the legendary track star of the 1970s who held every American running record between 2000 and…
When Montoya, one of the fearless vampire killers in John Carpenter’s Vampires, tells another character that nobody believes in the title creatures because nobody wants to, there’s no mistaking the ancestry of the line. It comes down, through two generations of horror films, from the moment in the original Dracula…
A riveting but darkly disturbing thriller, Apt Pupil isn’t easy to sit through. The subject matter itself proves deeply unsettling, while two brief acts of sadism are so horrifying as to be unwatchable. And yet this brutal film borders on the brilliant. Beautifully structured and edited, with a chilling central…
The first time we see Ray Joshua, the young black hero of director Marc Levin’s impressive feature debut Slam, we get a vivid taste of the conflicting forces that rule him. His olive-drab pants, so hip-hop baggy that you could fit two rail-thin Rays inside, are stuffed with bags of…
At the beginning of Gary Ross’s Pleasantville, fraternal twins who are unhappy suburban teenagers (is there any other kind?) fall down the rabbit hole of their television set and find themselves trapped in a parallel universe: a Fifties sitcom of the same name in which the family is more idealized…
The Jonathan Demme-directed Beloved runs nearly three hours, and it’s a long slog. This adaptation of the 1987 Toni Morrison novel bursts with ambition. On one hand it tries to get inside the fevers of the African-American slave experience, but it also wants to be an epic family saga and…
The hero of The Mighty — the title character, in fact — is an eighth-grader known by the nickname Freak (Kieran Culkin). His might isn’t physical; he’s a small, frail boy who suffers from a degenerative birth defect. His spine curves painfully, and he can walk only with crutches and…
Every year the Montreal World Film Festival runs for ten days (through Labor Day), and the Toronto Film Festival picks up a few days later and carries on for another ten. Twin colossi of the Great White North, they unspool some 300 movies each, and, for in the past three…
As a professional lamenter of how “they just don’t make ’em like they used to,” I am always thrilled on those rare occasions that someone even tries to make ’em that way. So I am doubly thrilled that, with The Impostors, writer-director Stanley Tucci has tried and richly succeeded. Those…
The ants in Antz show a lot of personality. The film is the best example yet of how a fully animated computer-generated feature can delineate facial movement. Toy Story (1995), the first such feature to be released, was brasher and more child-friendly, but Antz is more of a — how…
Have adultery, murder, and greed all moved to the sticks? Once firmly rooted in the big city, the seven deadly sins have taken on a distinct country-western twang in recent years, thanks to noirish, tough-minded scamfests such as John Dahl’s Red Rock West (1992) and The Last Seduction (1994), James…
Leelee Sobieski is a mouthful of a name (40 years ago studio moguls would have made her change it to something short and unassuming) but get used to it because the young actress behind it is going to be getting a lot of attention. She almost single-handedly carries A Soldier’s…
As a director of action thrillers, John Frankenheimer has been a peerless stylist for nearly four decades — without leaning on a pile of glitzy special effects. What’s more, his most memorable movies, from The Manchurian Candidate (1962) to The Birdman of Alcatraz (also 1962) to 1986’s wickedly entertaining, unappreciated…
Back in the early Seventies, when John Waters made his first splash with low-budget gross-outs such as Pink Flamingos and Multiple Maniacs, who would have guessed that someday he’d be making a Hollywood film as benevolent as Pecker? In retrospect, maybe we shouldn’t be surprised. If any director has ever…
