In his penultimate film, Wittgenstein, Derek Jarman attempts to grapple with the life and ideas of the brilliant, tortured philosopher Ludwig Wittgenstein, applying to the great man's life a framework that can only be described as the mingling of avant-garde
These two ummm "films" have me perplexed with my lips extremely pursed. All I can say is: 'Who?' 'What?' and most definitely 'Why?' Also 'Huh?' and "The F**k?"To wit, first up is Tichina Arnold (Pam in "Martin", aka 'BDB') in a dramatic role that seems
Laurence Fishburne is 47. Vivica Fox is 44 (cough). Her hairline is 82.**you saw that one coming didn't y
Hi all. I guess it's safe to say I'm back for awhile for 3 good reasons:1) I was moved by the concern of my safety in the quake via email (btw, it scared the sh*t out of me, and I was in the big one in San Francisco).2) If I die in a quake, I don't want
Mighty Aphrodite is simultaneously a departure and a re-visitation of familiar material for Woody Allen. The story is typical Allen in many ways, and the film's opening in particular comes across as a rather dull, plodding pastiche of his past films.
Judd Apatow's Knocked Up seems to have solidified the comedy writer, director, and super-producer's reputation as a purveyor of "dude" comedy. It's a rep I'll admit I've had mixed feelings about. I've steered clear of a lot of the sillier-looking Apatow-produced
Phase IV, the only directorial feature from famed credits designer Saul Bass, is a highly unusual science fiction film in which the extraordinary menace (a colony of highly evolved ants) figures much more prominently than the human characters fighting
David Gordon Green's Undertow begins with a puzzling start/stop credits montage that sets the tone for the film's hallucinatory pastiche of pop culture and rural life. The film's first image is a blue blur, indistinct and hazy, with the outline of a
The motorcycle racing drama Spetters follows a similar pattern to many of director Paul Verhoeven's films, which often start with the basic elements of a trashy genre film and transform it into something much deeper, richer, and stranger. That's certainly
Eriq LaSalle is 46. Marlon Wayans is 36 (wasn't he 36 last year?). Omar Epps is 35.I'll be honest, all three of these dudes kinda annoy me, but for different reasons. It's their day, so I won't elaborate--plus I know plenty of you have crushes on at
In The Firemen's Ball, Miloš Forman makes extensive use of a very crowded mise en scène in order to make his points about the absurdity and chaos of collective action in socialist societies. His frames are frequently packed with people, often moving
Terrence Malick's second feature, Days of Heaven, has a nominal story at its core, a rather conventional Hollywood story even, but that's not really what it's about. Malick's filmmaking is quiet, assured, meditative, and his film slowly parcels out fragments
I don't want to take exception too stringently with Keith Uhlich's angry, opinionated takedown of The Dark Knight from The House Next Door, one of my favorite daily blogosphere stops. He's entitled to his opinion, and some of the fanboy brush-offs of
Dear Eddie:I'm not much for writing these, as a matter of fact, I haven't written one in 7 months. But after viewing "Meet Dave" for over an excruciating and mind boggling hour, I felt it was that time again. I haven't really been a fan of your film
That 'The Pursuit Of Happyness" was pretty much BS? This from Sergio via "Cracked":The Hollywood Version: Chris Gardner is a hard-working man with a pain-in-the-ass wife and an adorable little son boasting one of the greatest afros we've ever seen on
Heath Ledger's Joker is not actually in The Dark Knight as much as the film's marketing would have one believe, but he is nevertheless at the film's core, as its motivating spirit and one half of its dualist moral compass. If director Christopher Nolan's
