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Writer/director Tom Tykwer captures all of GenX’s best qualities — energy, resourcefulness, independence — and he does so in the shared visual vernacular of Xers: music videos, video games, and television.
So, Go’s three interconnected tales follow a diverse group of Los Angeles twentysomethings as their lives bang up against one another in a scenario that’s the 90s in a nutshell, from the Xer point of view: sex and danger that’s both exciting and terrifying (the clever script uses the word ‘go’ both in the imperative, let’s-get-out-of-here sense and also in the imperative, orgasmic sense, as a synonym for ‘come’). And is if to demonstrate typical Xer cynicism, it all happens while holly jolly Christmas passes by practically unnoticed in the background.
Miracle on 34th Street is, as all of us who love this classic film know, the story of how Macy’s department store in New York City not only found the real Santa Claus but hired him to, well, play Santa Claus.
I’d never even heard of this film before I started putting together A Very Flick Filosopher Christmas, and I can’t imagine why that should be. Light and funny, this should be a holiday staple.
Beautifully written by W.D. Richter and directed with a sure hand by Jodie Foster, Home for the Holidays wraps all those contradictory feelings up and serves them for Thanksgiving dinner. Perhaps the most realistic holiday movie I’ve ever seen, this oddly charming, poignant, and blackly funny film is a treasure not to be missed.
But if you knew when we as a species were going to buy the farm, how would you spend your final hours? That’s the question Canadian filmmaker Don McKellar asks in Last Night, which he wrote, directed, and stars in. Sort of the flip side of movies like Armageddon and Deep Impact, Last Night focuses not on the heroes trying to save the planet from certain doom but instead peeks in at how ordinary people are facing the end of the world.
How would my life be different if only I’d taken the road not taken? This fun little movie favors an inevitability, a brand of destiny about who we meet and what we do…
You know that fourth Indiana Jones movie for which we’ve been waiting ten years? Well, here it is. From its wowser of an opening in ancient Egypt to the spectacular finale featuring an army of reanimated, bandage-dripping soldiers, The Mummy is a totally enthralling, nonstop thrill ride, the best popcorn flick in years, the purest fun I’ve had at the movies since I can’t remember when.
‘Love and a bit with a dog,’ that’s all audiences want, according to Philip Henslowe (Geoffrey Rush), owner of London’s Rose Theater. A bit of romance, a bit of comedy — isn’t that really all that movie audiences, too, are after? Shakespeare in Love has both in spades, and it’s the first film of its kind to win Best Picture since 1977’s Annie Hall.
Tom Stoppard, I’ll grant you, is infinitely more clever and more talented than your run-of-the-mill fan-fiction writer. But he’s doing exactly the same thing as those hordes of writers who have continued and expanded upon the adventures of the crew of the Enterprise, the owner of the TARDIS, those two FBI agents down in the basement, and the fictional denizens of a zillion other cultish TV shows.
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