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Their *Chicago* — based on the stage musical by John Kander, Fred Ebb and Bob Fosse — is utterly singable, danceable, cheerable, with musical numbers that straddle the unwillingness of today’s movie audiences to suspend our disbelief about movie characters breaking into song unless they’re Disney lions or talking candelabra.
I should probably watch Being John Malkovich again before I try to write this. I’ve got the DVD here somewhere. It’s vitally important that I watch BJM again right now. I could just put it on for a while. I could write while I’m watching it. I can do that.
Robert Altman’s latest saga is a sprawling yet intimate upstairs/downstairs murder mystery set at a shooting party at an English manor in 1932, a story much concerned with subtle class warfare and how very nasty very proper people can be. But don’t see it for that. See it for the catty gossip, the cheap rich … more…
Are you up for a little larceny that may be dangerous but is too much fun to pass up? Are you up for a smart dumb movie, the kind of delicious popcorn flick you get when some of the most talented and most watchable people in the biz let their hair down? Cuz this ain’t a movie that’s been fortified with vitamins and minerals or morals or anything good for you — this is pure cinematic junk food of the highest, tastiest order.
Donnie Darko in, in fact, what Ferris Bueller’s Day Off might have been if David Lynch had ever gotten his hands on it, a daring, disturbing, visionary debut from 26-year-old writer/director Richard Kelly.
There are some serious gaps in my film education, I’m sorry to admit, but one of those gaps was recently filled when I saw *Apocalypse Now* for the first time.
Isla Sorna has become something of an attractive nuisance these days. Never mind that InGen’s real-life monster island is surrounded by restricted airspace and that travel to it is absolutely forbidden. Never mind that it’s common knowledge that people have been eaten there. Does this stop adventurous types from trying to catch a glimpse of an honest-to-goodness genetically engineered freak dinosaur? Of course not. InGen’s legal budget must require advanced mathematics to grasp.
Promising but a little unsteady on his feet with his first film, Lock, Stock and Two Smoking Barrels, writer/director Ritchie has graduated, with Snatch, to full-fledged cool-ass dude and filmmaker to watch out for.
What if the dude who played Nosferatu in that great old 1922 silent German horror movie was actually really a vampire? Cool.
So what the Coens did with O Brother, Where Art Thou? is this: They transported Homer’s epic poem The Odyssey to this filmic otherworld of theirs, turning what is perhaps the original on-the-road story into a Depression-era fantasia that wants more for you to recognize the clever fun they’re having with filmmaking conventions of the 1930s than whether you know the least thing about ancient literature.
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