Terry Gilliam’s last film featured the former Monty Python troupe member as an eccentric, demanding and difficult director prone to destroying his ambitious projects before a single frame of footage was ever shot. “If it’s easy,” he says in the movie, “I don’t do it.” Alas, this was not a…
The problem with making black-lacquered high school satire is this: Heathers came out in 1989, and it pretty much did the trick. There’s always room for an excellent addition to the genre, and in 1999, it appeared in the form of Alexander Payne’s Election, a film blessed both with a…
The trouble with pornography is that while it sells itself on the authenticity of the sex act, everything else about it is usually artificial, and very blatantly so. The hair color of the leads, most of the female body parts, and especially the situation: When was the last time you…
Wage slaves, unite! Mike Judge’s Office Space, released in 1999, combines the terrors of Franz Kafka with the hopeless workaday fatigue of Dilbert in a pointed satire about cubicle life. The beleaguered hero, Peter (Ron Livingston), is tormented by a parade of identical supervisors; his co-worker Milton (Stephen Root) wards…
2005 Biennial BLOW OUT. This is the third in a series of biennials presented at Denver’s Museum of Contemporary Art. In the past, participation in these biennials was limited to artists from around here; for the 2005 version, it’s been expanded to include artists working in most of the Western…
Like hundreds of creative Southerners before them, Phil Morrison and Angus MacLachlan have Thomas Wolfe in their bones. The media notes for Morrison’s first feature, Junebug, don’t mention Wolfe, and the 37-year-old NYU Film School graduate makes a point of distinguishing between literary inspiration and what he, like Paul Schrader,…
Sure you want to be inside Sophie Jacobs’s head? The poor woman’s cabeza is so stuffed with guilt and fear, so tormented by grief and what might be delusions, that to spend even five minutes in there poses an obvious risk to your own sanity. At least, that’s the way…
Surfers, skateboarders and desert racers have all had their moment at the movies recently. Now the motocross crowd gets its turn. Supercross, which provides a glimpse at what its makers call “the second-fastest-growing motorsport in the U.S., behind only NASCAR,” is anything but a dramatic masterpiece. But it features enough…
Even today, British kids grow up listening to stories about life during the London Blitz and the hardships their parents and grandparents endured during the Second World War. American children, by comparison, would be hard-pressed to tell you what nations fought on which side. It’s one of the many weaknesses…
Some art-house programmer would be wise to schedule a double bill of The Aristocrats, Paul Provenza’s talkumentary about the dirtiest joke ever told, and The 40-Year-Old Virgin, writer-director Judd Apatow’s near-brilliant movie about a grown-up geek who simply lost interest in trying to get laid. Both offer countless giddy variations…
Red Eye may not seem to be your typical Wes Craven movie. It’s not really horror, there are no marketable monsters, and unlike Cursed, Scream 3, and other recent Craven offerings, it’s actually an enjoyable time at the movies. But heroine Lisa Reisert (Rachel McAdams) is very much in the…
2005 Biennial BLOW OUT. This is the third in a series of biennials presented at Denver’s Museum of Contemporary Art. In the past, participation in these biennials was limited to artists from around here; for the 2005 version, it’s been expanded to include artists working in most of the Western…
“I always cannot understand why girls don’t wanna be with me for a long time,” says Timothy Treadwell, subject of the documentary Grizzly Man. “I have really a nice personality — I’m fun, I’m very very good in the…umm, well, you’re not supposed to say that when you’re a guy,…
The old John Wayne-Dean Martin hayburner The Sons of Katie Elder wasn’t a very good movie the first time around — Dino and a cowboy hat go together about as well as Sinatra and bib overalls — and John Singleton’s jokey, urbanized rehash, while not bad, isn’t likely to snow…
Pity the daily newspaper critic who must review The Aristocrats without using such phrases as “A longshoreman’s arm up a little girl’s ass,” “Then my wife goes down on my son while the dog’s licking his balls,” “My grandmother’s covered in my cum,” and “Is it shit before piss, or…
The Aristocrats may be the foulest-mouthed movie of the summer, but Deuce Bigalow: European Gigolo is the foulest in deed, actually depicting some of the nigh-unspeakable acts that are merely hypothetically talked about in the former film. It’s been a while since we’ve seen a big-time gross-out comedy, and European…
“The most daring rescue mission of our time is a story that has never been told,” boasts the poster for The Great Raid. The credits of the film, however, reveal that it’s based on not one, but two books about the 6th Ranger Battalion, which ventured 30 miles into enemy…
The Skeleton Key ranks high on the list of 2005’s funniest films, bested only by the first two-thirds of The Wedding Crashers, all of The Aristocrats, and that part in Stealth where the airplane starts sassing Josh Lucas. Doubtful that was the intention of director Iain Softley (K-PAX, an inexplicably…
The disturbing French filmmaker Francois Ozon (Swimming Pool, Under the Sand) has never won any friends in America among the Focus on the Family crowd. Long obsessed with the hazards and the hidden agendas of traditional marriage, Ozon has now launched a full-frontal assault on the whole notion of conjugal…
2005 Biennial BLOW OUT. This is the third in a series of biennials presented at Denver’s Museum of Contemporary Art. In the past, participation in these biennials was limited to artists from around here; for the 2005 version, it’s been expanded to include artists working in most of the Western…
The contentedly independent filmmaker Jim Jarmusch has brought his restless energy to a series of surreal road movies that move nicely along on the strength of rare characters, quirky humor and a willing embrace of chance adventure. These quest stories for hipsters have transported Jarmusch’s fiercely loyal audience from New…
And so, once more, the googolplex emits the stink of the network rerun, this week offering yet another worthless big-screen take on small-screen detritus. While Hollywood wonders (cries, actually, over spilt spoiled milk) why audiences are staying away from theaters — offering theories that range from the absence of such…
