| Title |
Overall |
DVD |
Review |
| The Contender (2000) |
••••• |
•••• |
A smartly written, well-acted film. The story is fresh and the casting is perfect: Allen, Oldman, Elliott, and (surprisingly) Bridges all wrap themselves around the densely written dialog, which is at once devastating, vulgar, witty, inspirational, and wickedly manipulative. Political films are a tough sell, but this is simply one of the best films I've ever seen, and one that I'm adding to my collection. 01/03 |
| Limbo (1999) |
•••••
|
••• |
An actors movie, with brilliant performances by Mary Elizabeth Mastrantonio and David Strathairn, both masters of disappearing into their roles. While the climax of the film may leave some wanting, if not furious, what comes before is as graceful as a Sayles gets. 08/01 |
| The Fifth Element (1997) |
•••• |
• |
How can you putdown a film that's a child's rumination on love? This film is all about style with a perfect cast. Milla Jovovich is deeply affecting and manages to ramble on in a fake language while remaining utterly convincing. Chris Tucker's hyperactive radio star is brilliant. 11/01 |
| Gattaca (1997) |
•••• |
•••• |
There's a common thread to the films I love, and that is the realization of potential. It's sexy. While "Incredible Mr. Ripley" fans may love Jude Law's nascent type-casting as the ill-fated doppleganger, others will love this film for its simplicity and lack of sarcasm given the subject matter, especially for those like me with a less than stellar genetic antecedent. 07/00 |
| Starship Troopers (1997) |
•••• |
•••• |
Life in America. Paul Verhoeven is who I wanted to be when I was in film school. He brought Robocop to show to my class, and I was amazed at the depth he added to a concept as lame as they come. Soldier of Orange is a better example of his talent. 10/98 |
| Vertigo (1958) |
•••••
|
•• |
This was my all-time favorite movie, but that was when obsession seemed like a perfectly natural thing. A tale of love interfering with a perfectly sound murder-for-money plot, the production design perfectly surrounds Jimmy Stewart's descent into psychosis. The titles by Saul Bass are a classic.
The use of color is noteworthy, especially given the hoopla people raise over Coppola's or more accurrately Sterraro's 80s projects.The score by Bernard Herrman is enhancing without being maudlin. There is a REAL difference between seeing this at home vs. projected. If you have the opportunity, take it. 10/00
|
| House of Games (1987) |
••••• |
• |
Lindsay
Crouse is of my favorite actresses, and this role of behavior
and trickery is perfect for her. Mamet scripts are not for everyone, The story weaves
in and out of classic cons, and how they relate to the new-age
con of psychotherapy. You might think that a first-time film
director would fall back on cliche, but this is a stylish
and idiosyncratic film, that allows Crouse to spin out of
control with perfect composure.
10/00 |
| Plenty (1985) |
••••
|
• |
This film
brings together two of my favorites: David Hare and Fred Schepisi
(and the latter's usual band of collaborators). The writing
is crsp, although Streep once again displays her technique. A lot.
The dialogue in the dinner party scene is one of my favorite
sequences in any film, although I understand others' complaints
that it doesn't live up to the play's immediacy; Streep is
far too likeable here. 10/00 |
| Babette's
Feast (1987) |
••••• |
•• |
One of my favorite rainy day movies, especially when I wonder if being a designer is a real profession. This small, charming film manages to explain both the aspirations of artists and the creatively inclined's struggle to rise over the perversity of business and violence. The DVD includes an inferior English -dubbed version, which should be avoided. 02/01 |
| Farewell,
My Concubine (1993) |
••••• |
• |
This is one of my great favorites. It's a lovingly told love triangle tragedy, and the acting is first-rate. It's surprising that a film that includes a homosexual theme and is critical of the Nationalist and Maoist revolutions was produced in mainland China. The primary reason I'm trying to learn Mandarin, a lovely and regal language. 10/00 |
| The Opposite of Sex (1998) |
•••• |
•••• |
"Absolutely Fabulous" in tone, a step above "Will & Grace" in execution. The writing often outshines the performances here, but how many gay comedies are there that are actually funny the second time around? Watching this movie is like a dinner party I attended, where the guestlist was made up almost entirely of bitchy, snobby vampires and the boys they preyed on. 10/00 |
| The 39 Steps (1935) |
••••
|
• |
Simple, sweet, and surprisingly modern. The perfect screwball comedy caper. |
| Tampopo (1987) |
•••• |
• |
I love movies that pay homage to alien genres, and this is one of the best I've seen. The idea of splicing a spaghetti western with a movie about noodles and sex is hairbrained and brilliant. If you ever have the chance, view The Backjet Family to see what really lurks beneath Japanese culture. 10/00 |
| The Fly (1986) |
••••
|
•• |
David Cronenberg films usually make me feel like I've just thrown up but can't remember exactly when or where. They're revolting in a clean, well-lighted way, sort of like finding a maggot in a spotless white tile kitchen. The Fly is the warmest of Cronenberg's tales, mostly due to the chemistry between Geena Davis and Jeff Goldblum. The latter's sense of comic timing and bizarre delivery style make for fine moments. 1/01 |
| Willy Wonka (1971) |
••••• |
•• |
One of my favorite movies from childhood, because it was freaking scary. "Pure Imagination" is a brilliant song, and it's beautifully presented here. Gene Wilder's Wonka is every jaded queen's dream persona, and the freaky 70s graphics are still effective. 12/00 |
