
Desperately Seeking Susan movie review
A new-fashioned screwball comedy combining improbable elements, from ancient Egyptian artifacts to downtown New York chic, with classic conceits like mistaken identity and romantic conundrums.

A new-fashioned screwball comedy combining improbable elements, from ancient Egyptian artifacts to downtown New York chic, with classic conceits like mistaken identity and romantic conundrums.

The true story of a modern-day female Robin Hood of India. A powerful and in spots devastating journey through one woman’s conquest of a culture that views women as little more than sexual commodities.
For me, the Beatles have always been part of the cultural background — ‘Yesterday’ is, alas, Muzak piped over supermarket loudspeakers — and yet this 36-year-old film still feels fresh and spontaneous. Captured forever here in a filmic bottle is pop-culture lightning, not only Beatles magic and energy but the spirit of the early 60s that sustained it.
Years before anyone had ever heard of Spinal Tap, there were the Rutles. Eric Idle got by with a little help from his Monty Python and Saturday Night Live pals to create this mockumentary, originally a 1978 NBC-TV special exec-produced by Lorne Michael, part satire of and part tribute to the Beatles.
‘I’ve a naughty little tale to tell,’ the Marquis de Sade informs us as Quills opens. It’s actually the opening line to the latest bit of juicy pornography he’s writing, but of course it applies to the story Quills tells, a fictional account of de Sade’s final years spent in a French insane asylum. As promised, Quills is bawdy and often surprisingly funny, but more frequently it’s like a dark and disturbing flip side of Shakespeare in Love, exploring the inner and outer demons that torment and inspire writers and the necessity of leaving writers to exorcise those demons on their own, no matter whose sacred cows get slaughtered.

Crouching Tiger, Hidden Dragon will make you fall in love with film all over again. Instantly one of the greatest ever adventure movies, it’s also a touching, tender story of love forbidden and denied.
It’s weird to think that there’s an entire generation of children out there for whom Glenn Close will be associated with kidnapped puppies and not with boiling rabbits. But 102 Dalmatians seals it: Her Cruella is back, vampier and funnier than ever, and kids will love her all the more. Their parents will have a fine time as well if they tag along to the multiplex.
Don’t believe the marketing of Bounce. This isn’t a romantic comedy. I can understand why Miramax took the happy route — it’s a lot easier to get an audience in to see a film if they believe it’s happy, funny, and, well, bouncy than if they knew it was a drama about grief, pain, guilt, and what it takes to get over such things. But don’t let reality deter you: Bounce is a genuinely moving and engrossing film brought to warm and authentic life by its gifted and intelligent stars.
I don’t think it’s venturing too far into hyperbole to call this, the followup to The Sixth Sense from writer/director M. Night Shyamalan, a work of transcendent filmic genius, one that acknowledges the audience’s expectations, confounds them, rebuilds them, and ends up using them to brilliant, astonishing advantage.
But those who insist on misconstruing the Grinch will certainly be delighted with Ron Howard’s new live-action adaptation, because it subverts Dr. Seuss’s point in exactly the same way. And the result is a bizarre and uncomfortable film.