Sliding Doors by Peter Howitt is what they used to call — perhaps they still do — a stylish comedy, but it also has that little metaphysical kick that the movies occasionally give us, that sense of the supernatural somehow brought down to earth, domesticated and made familiar to us that only celluloid can confer….
Two Girls and A Guy, directed by James Toback, stars Heather Graham and Natasha Gregson Wagner as Carla and Lou, two young women who meet at the entrance to an apartment building where both are waiting for someone. They do not know each other. Lou, a bubbly sort, strikes up a conversation and enthuses about…
Niagara Niagara directed by Bob Gosse, is what we might call a sick flick which reproduces in its title the “echolalia” or weird repetitions and irrational tics incident to sufferers of Tourette’s Syndrome. The sufferer in this case is a young woman called Marcy (Robin Tunney) from a wealthy but uncaring family who meets (while…
The Newton Boys directed by Richard Linklater is the sort of movie that Hollywood made routinely 25 or 30 years ago, a movie about criminals as existential heroes—decent fellows no worse than lots of respectable folks who, though equally ready to be corrupted, haven’t the guts to go out and say “stick ’em up” as…
Wild Things, directed by John McNaughton and written by Stephen Peters, is superior quality 90s noir — which means, as I have said before, noir without any moral compass whatsoever. It’s too bad because this could have been a good film. It has clever plotting, good dialogue (without being overfull of wisecracks and strained attempts…
Wild Man Blues by Barbara Kopple is a documentary about Woody Allen and a pickup band and their tour of Europe to play New Orleans jazz. The deal must have been for Barbara to come along and get lots of shots of Woody and Soon-Yi, suitable for tabloid TV, in exchange for making Woody look…
Character by Mike Van Diem, the Dutch winner of the Academy Award for best foreign film, is an astonishingly old fashioned picture, of a sort (here is a sobering thought) that simply could not be made in America today. Some representative of the feminist thought police would have got to it long before it was…
An Alan Smithee Film: Burn, Hollywood, Burn, written and directed by super-screenwriter Joe Esterzhas, is that most painful of spectacles: Hollywood satirizing itself. Let us be clear: Hollywood likes nothing better than satirizing itself, and there is never any shortage of stars willing to do cameos and play up to their stereotypes in order to…
Edward Burns’s young career as a director has gone from promising (The Brothers McMullin) to flabby (She’s the One) to utterly self-indulgent and silly in his latest and, I hope, last film, No Looking Back. The big idea here is to take that over-familiar and by now thoroughly boring conceit of the 1950s (most recently…
Taste of Cherry by the Iranian director, Abbas Kiarostami, is not for those whose idea of movie fun is explosions and shootings, yet its concerns with matters of life and death are no less exigent for that. Over the opening credits, Mr Badii (Homayoun Ershadi) is cruising in his Range Rover, peering intently at knots…
Post Coitum Animal Triste, directed by Brigitte Roüen, stars Miss Roüen herself as Diane, a publisher married to the decent but boring lawyer, Philippe (Patrick Chesnais). She suddenly falls passionately in love with the much younger Emilio (Boris Terral) — a hydraulic engineer who goes about doing good, bringing water to the third world. What…
Despite having almost nothing to do with the novel by Alexandre Dumas from which it is supposedly adapted, The Man in the Iron Mask by Randall Wallace is not so bad as one might have expected it to be. Certainly it is a lot better than the ineffably silly Three Musketeers of a few years…
