Reviews
If we could only harness the righteous indignation in and around Hounddog, we could heat our homes for free this winter.
Tarr’s is a heavy, maximalist vision, as ambitiously difficult as it is endlessly generous to the spectator willing to fully enter its embrace.
Udi Aloni's Forgiveness asserts its political ambitions early, with an opening title scroll that tells of a Palestinian village, whose inhabitants were slaughtered by an Israeli militia in 1948.
At one point, Alex drags the others to dinner at an exclusively lesbian restaurant, and I was left wondering, first, if any such places exist in real life (seriously, I don’t think they do), and second, why any of these women were having dinner with each other in the first place.
Basically a hateful litany of bad behavior inelegantly strung together into a moralizing allegory it vapidly posits as quintessentially “American,” Ball’s wretched pageant is precociously vile.
Why go back to the seventeenth century to tell a tale of love? Why lament the Forez plain when there is yet such natural beauty in the world as cinematographer Diane Baratier finds here?
The value of a film like Chris Smith's The Pool becomes more tangible when you begin to imagine what a lesser filmmaker might have wrought from the same material.
Django, Tarantino, Miike: These names alone are enough to tell anyone whether or not Sukiyaki Western Django isfor them. If you only know the middle guy, don't bother (and for shame!); if you know and like all three, you've probably already seen and blogged about the movie anyway.
Staid pacing and standard shots held a few beats too long to hit the comedic sweet spot show up Green’s inexperience in mainstream generic moviemaking. His direction here exhibits nothing so much as that least attractive of stoner attributes: a sluggish inertia.
With its focus on actors and the movies, Tropic Thunder emerges as Stiller’s grand rumination on two obsessions, Hollywood solipsism and our pop education.