The good news is that Karina Lombard is great in bed. The bad news is that the novice thespian’s acting skills drop off precipitously the further she ventures from the boudoir. Luckily Wide Sargasso Sea, the cinematic adaptation of Jean Rhys’s 1966 novel, calls for Antoinette (the tragic heroine played…
“The dog ate the part we didn’t like” — from Panama, by Thomas McGuane You probably don’t have to hate George Bush or his presidential predecessor, Ronald Reagan, to appreciate The Panama Deception (opening Friday at the Alliance on Lincoln Road), this year’s Academy Award winner for Best Documentary Feature…
Lesbians have feelings too. That’s the earth-shattering revelation at the core of three of hearts. (What is it with lower-case titles these days? bodies, rest & motion, the night we never met A am i the only one who finds the trend precious?) For the first twenty minutes or so,…
A body at rest tends to remain at rest unless acted upon by an outside force. bodies, rest & motion is proof positive of the veracity of that Newtonian law of physics. This is an insufferable, pretentious, existential character drama that starts out at rest and stays there. Nick, played…
After watching Robert De Niro sleepwalk through Mad Dog and Glory, it was a relief to see that someone had awakened the venerable actor in time for his next performance as an abusive stepfather in This Boy’s Life. Unfortunately, whoever roused the sleeping Dog for the film adaptation of Tobias…
Lampooning middle-class neuroses has long been a staple of television sitcoms. From the Bundys to the Simpsons, some of our most popular TV families are paragons of bourgeois dysfunction. But the big screen has been another story; mainstream Hollywood hasn’t really gotten suburban angst right since The Graduate. But not…
It happens every spring with numbing predictability. The crush of Christmas blockbusters and Oscar contenders peters out sometime in mid-January, and with one or two exceptions the pickings A at least in terms of first-run domestic theatrical releases A remain slim until the advance guard of the big summer films…
Gombo, the ingenuous hero of Close to Eden, wields a mean urga. The preferred tool of the Mongolian rancher, the gadget resembles a long fishing rod with a noose at the end of it and is one handy piece of equipment for a guy trying to scratch out a living…
In the annals of American cinema, has there ever been an actor whose first name so accurately critiqued his performances as Woody Harrelson? In Doc Hollywood he was Woody the lovestruck hick; in White Men Can’t Jump he was Woody the street-hustling ballplayer; Indecent Proposal offers us Woody the architect…
The kitchen and the bedroom. In 1910 Mexico, a woman’s choices, bound by tradition and the macho ethic, were severely limited. Like Water for Chocolate, the film adapted by Laura Esquivel and her director/producer husband, Alfonso Arau, from Ms. Esquivel’s internationally best-selling novel, is the raunchy, romantic, dreamlike rendering of…
As a rule, the last place a movie critic wants to view a film is at a promotional screening. Such events, if successful, are usually loud and crowded, two factors that are not exactly conducive to thoughtful analysis of the motion picture in question. The WMXJ-FM (102.7)/Community Newspapers-sponsored showing of…
Il Ladro di Bambini (Stolen Children) is a small film that packs a mean wallop. You don’t realize what a tour de force you’re watching until midway through, and then not because of a Crying Game-like plot twist or a whiff of Scent of a Woman-ly bombast. Rather, Bambini wins…
Thank goodness for small favors: the new Disney release, A Far Off Place, is not a Newsies-magnitude bomb. On the other hand, the best thing about the film (a loose adaption of two books by Laurens van der Post, A Story Like the Wind and A Far Off Place) is…
“It is not a dance; [it is] synthetic sex turned into a spectator sport,” asserts choreographer Jeffrey Holder. “If they turned off the music, they’d all be arrested,” adds phlegmatic comedian Bob Hope. The object of such moral outrage? A vulgar, animalistic dance known as the Twist. Canadian documentary filmmaker…
During the Seventeenth Century, aristocratic women often glued little dots of black taffeta to their faces or breasts to accentuate the whiteness of their skin. On the forehead such a mark was called a “majestique,” near the eye a “passionne,” and near the lip a “galante.” On the chin, it…
The NAACP once accused controversial FBI director J. Edgar Hoover of being prejudiced. The cross-dressing pit bull’s characteristically sensitive response was that he was buddies with Amos (Freeman Gosden) and Andy (Charles Correll), white men who played embarrassing black stereotypes on a popular radio program. Needless to say, the NAACP…
As a young actor, Robert De Niro learned a lot by studying, and occasionally emulating, Marlon Brando. Who would have guessed that De Niro would someday go so far as to mimic the Godfather’s penchant for taking the money and running? Chances are that Mad Dog and Glory wouldn’t have…
Harvey Keitel plays the profane, heavy-betting, dope-sucking, whoremongering police officer of the title. It is a role that affords this underrated actor the kind of exposure that has eluded him to date: full frontal nudity. In addition to the family jewels, we get to see Keitel masturbating (fully clothed) in…
Nearly a decade ago film critic Vincent Canby of the New York Times vilified the work of French director Alain Corneau, dismissing it as “lethargic, pretentious, overblown, neopoetic nonsense.” Since that review, no American distributor has been daring (or batty) enough to market another of Corneau’s movies in this country…
It’s about time Van Damme, Gibson, Stallone, and the rest of the macho fantasy boys got a good beating. It comes at the hands of Emilio Estevez and Samuel L. Jackson in the satirical Loaded Weapon 1. This goofy pair of police partners (Colt and Luger, of course — one…
Extreme Close-Up was Paul N. Lazarus III’s first feature film, and the independent producer had delivered it on time and under budget. There was just one remaining hurdle — the rating. Lazarus had promised his backers the film would receive no worse than an R from the MPAA. This was…
When Fatal Attraction came out five years ago, a lot of critics noted the cleverness of its central reversal: making Michael Douglas, the picture’s straightlaced, family man hero, into a sort of masculine damsel in distress. Many of these same critics gleaned other intriguing subtexts from it: the war between…
