The best comment on Howard Stern’s Private Parts came in the New Yorker cartoon that showed one rueful movie-goer saying to the other: “I think I hate liking Howard Stern even more than I liked hating him.” Here he presents himself, with the help of Betty (Brady Bunch) Thomas, as just a good old-fashioned, all-American…
Kissed by the young Canadian, Lynne Stopkewich, is one of those made-on-a-shoestring, parents-helping-out, credit-cards-maxed-out sort of films which are so often touted in the press these days. Ms Stopkewich’s parents, at least, can be proud of their daughter’s commercial savvy, since they are certain to get their money back. Visa, too, can breathe a sigh…
Grosse Pointe Blank by George Armitage is a high concept movie. A hit man called Martin Blank (John Cusack) goes to his 10 year high school reunion. He tells people matter of factly what he does and they reply by saying something like: “Do you get dental with that?” or “Do you have to do…
Waiting for Guffman is the cheapest of cheap comedy. All it takes is our suspension of disbelief (easy in New York and L.A.) that the rubes in fly-over country could be as witless and unhip as they are presented as being here. Hip is our new class marker: snobbery on the basis of race or…
Fools Rush In by Andy Tennant offers us mildly engaging characters and an even more mildly witty screenplay but cannot escape the clichés of its plot—which, when you boil it down, is nothing more than the old work-family conflict. All this romance—and there is a potential romance here of some charm—only so that yet another…
Gridlock’d is yet another attitude film, this one by Vondie Curtis Hall and starring the late Tupac Shakur and Tim Roth. They play a couple of junkie musicians in Detroit vaguely trying to “kick” (i.e. the habit) after Tupac’s girlfriend, played by Thandie Newton, overdoses one New Year’s Eve. They take the girl, Cookie, to…
Chasing Amy is another slacker movie and thus another piece of redundant evidence that America has become far richer than is good for it. Boys the age of this film’s director, Kevin Smith, whose earlier efforts are Clerks and Mall Rats, ought to be doing their army basic training, or serving as apprentices at some…
Touch by Paul Schrader, based on a twenty year old novel by Elmore Leonard, has an appealing premiss but with no idea of what to do with it. The premiss is that a young former Franciscan calling himself Juvenal (Skeet Ulrich), but whose real name is Charles Lawson, returns from a missionary calling in the…
If you could legitimately take, as some reviewers seem illegitimately to have done, the final words of the Pakistani convenience store clerk, Nazir Chowdray (Ajay Naidu), in SubUrbia as the real direction in which the film is heading, it would not have been at all a bad picture — though written by Eric Bogosian (from…
Dante’s Peak by Roger Donaldson (written by Leslie Bohem) is a standard-formula disaster movie. The hero, Harry Dalton (Pierce Brosnan) is a ruggedly handsome vulcanologist who (we learn over the opening credits) has lost his fiancée, a colleague, to an erupting volcano. Now he harbors his secret sorrow and treads a lone path through the…
The Beautician and the Beast, written by Todd Graff and directed by Ken Kwapis, is built entirely on the comedic talents of Fran Drescher, “The Nanny” in a moderately popular TV series of that name. Unfortunately, those foundations are not quite firm enough to support the house. Or castle, as it happens, since the “high…
Thieves by André Téchiné, is one of those films where the artistic means completely overpower the narrative ends. Here we have multiple narrators, shifts backward and forward in time, several brooding, complex, mysterious characters and a tangle of unexplained plot details trailing off into philosophical conversations full of gnomic utterance. And all for what? To…
