Let it not be said that Memento, written and directed by Christopher Nolan, has nothing to say. On the contrary, it has a very serious point to make about the way that people manufacture their own reality. In particular, as its subject is revenge and memory-loss, it encourages us to wonder if all revenge is…
Bad jokes are like rotten apples: it only takes a few of them to spoil the whole barrel. Company Man, a co-written, co-directed effort by Douglas McGrath and Peter Askin, starts off very promisingly. Its jokes are crisp and tart and juicy. But not long into it we take our first bite of the rotten…
I’m not quite sure how it does it, but the Australian film, The Dish, directed by Rob Sitch, gives the best cinematic account known to me of the American space program. On the surface, it is only tangentially about the Apollo 11 moonshot in July, 1969. Instead it concentrates on the true story of the…
Maybe I’m growing tired and jaded from seeing large numbers of mediocre movies, but more and more I find that the best I can say of a romantic comedy is that it’s not so bad as I expected it to be. This is certainly true of Someone Like You, primary responsibility for which belongs to…
If, as I believe, the new media aristocracy is essentially the aristocracy of feeling, then Johnny Depp is the crown prince. Was ever a face more perfectly constructed to express our turn-of-the-century ideal of a fine vulnerability, a noble sensitivity to every emotional breeze that ripples its surface? Unfortunately, with looks like his there are…
Enemy at the Gates, directed by Jean-Jacques Annaud, aspires to the Saving Private Ryan level of spectacle, but offers a bit more in the way of dramatic coherence. What a curious way it has, however, of representing for us the vast slaughterhouse of the Battle of Stalingrad—that is, as a solo duel between a Russian…
Time and again Hollywood, wearing its artist’s beret, attempts to satirize the entertainment business, of which Hollywood itself is so huge a part. Time and time and again it fails. I wonder why that is? By coincidence, we have the two latest attempts opening in consecutive weeks. But where 15 Minutes is a typical failure…
True, there may not be much to be said for Head Over Heels, but one thing it can claim is that, with the scene of Freddy Prinze Jr. defecating while a gaggle of supermodels huddle together, hidden behind the shower-curtain of his bathtub, it has broken new ground for the ever-poopular gross-out flick. Perhaps in…
Earlier this year, in a review of Panic by Henry Bromell, I observed that it was possible to appreciate a film which is an impressive bit of propaganda for a political position with which you profoundly disagree. Just think of Leni Riefenstahl’s The Triumph of the Will. Nowadays, the most assiduous ideologues among film-makers are…
Earlier this year, in a review of Panic by Henry Bromell, I observed that it was possible to appreciate a film which is an impressive bit of propaganda for a political position with which you profoundly disagree. Just think of Leni Riefenstahl’s The Triumph of the Will. Nowadays, the most assiduous ideologues among film-makers are…
Down to Earth, Chris Rock’s remake (directed by Chris and Paul Weitz) of Heaven Can Wait (1978)—itself a remake of Here Comes Mr. Jordan (1941)—is a disappointment. Though there are some very funny things in it, its glib message about being oneself turns out to be a cover for being self-indulgent, in the style (I’m…
Volker Schlöndorff’s film, The Legend of Rita has many virtues, not the least of them being a wonderfully watchable leading lady in Bibiana Beglau. She is a sort of Communist version of Betjeman’s wonderful tennis girls of suburban England: beautiful, strong-limbed, confident and somehow both terrifying and lovable at the same time. She plays the…
