Breach

The Fifth Element by Luc Besson is what every crappy Hollywood postmodern extravaganza would be if it had the wit and the boldness of the author of La Femme Nikita and The Professional—together with a Hollywood blockbuster-sized budget of $100 million. With it, postmodernism has entered into its rococo phase. Some day, if anyone ever…

Cradle Will Rock is a huge disappointment—nothing but a vanity project for Tim Robbins, who wrote and directed it. It’s a great shame, not only because Robbins showed that he was capable of something much better in Dead Man Walking a few years ago, but also because it has an all-star cast (including Vanessa Redgrave,…

Hélas! The good-humored detachment and optimism that François Truffaut brought to the French cinema seems to have died with him. Barring the rare exception, like last year’s Un Air de Famille by Cédric Klappisch, each new French film that manages to get itself released in this country seems to try to outdo the last in…

In the New York Times‘s review of East-West, a Franco-Russian production directed by Régis Wargnier, A.O. Scott noted that, on its release in France last year, the film had been criticized for “its supposed anti-Communism” but that, it seemed to him, “its politics are fairly restrained.” How typical of the New York Times to assume…

Jim Jarmusch finds his alter ego in Bill Murray and his cinematic vision in the burn-out’s 1000 yard stare

Jean-Pierre Jeunet’s movie is not so good as its record breaking box office receipts in France would suggest, but Audrey Tautou is irresistible