Latest Film Reviews
As Hollywood actioners go these days, this one's quite tolerable in its guilty-pleasure way. Feel free to saddle up.
A terrible script, pedestrian direction, and acting that's mediocre at best signify that
...[is] ready-made, moderately sexy fodder for late-night Skin-emax.
Pretty Persuasion (2005)
Nothing is less shocking than a movie that's constantly trying to shock....more bite than bark, but it's all dog.
Humanizes the conflict of peace versus the arguable necessity of violence.
My Left Foot: The Story of Christy Brown (1989)
Inspiration is inherent in Brown's story, but Sheridan, co-screenwriter Shane Connaughton, and Lewis refuse to sanctify him.
Francesco, giullare di Dio (a.k.a. The Flowers of St. Francis) (1950)
Though Roberto Rossellini's
Francesco, giullare di Dio
...tells stories of a Roman Catholic saint, it should not be branded merely as a religious film.
Red Eye (2005)
Wes Craven banishes the memory of
to bring us a lean thriller that's just right for armrest-gripping.
is sadly boring, and while its rote mechanics may function nominally on children, it's going to be a long 76 minutes for the adults.
Kim Ki-duk's happily unhinged drama comfortably occupies the middle ground between his baroque thriller
and his meditative
9 Songs (2005)
May I humbly suggest you go to a concert or have sex instead? Heck, do both.
Grizzly Man (2005)
We're spared the sounds [of Treadwell's death], but haunted by our own mental image, one more example of the individual's capacity to create his own reality.
Four Brothers (2005)
a guilty pleasure....Singleton may go for easy laughs, but he gets them; the gut-level jolts may be ridiculous, but he delivers them (with style).
Ghostbusters II (1989)
Bottom line: with Murray on fire and enough clever dialogue to rival its predecessor,
is good enough to put post-milennial comedy to shame.
Broken Flowers (2005)
Has little more ambition than to make Murray the funny valentine of one of Jarmusch's mood pieces....indeed, some of the best moments are wordless.
The balancing act of character contradictions ultimately becomes more about itself than true human behavior.
Ma Mère (2005)
Glazed-over looks, naked flesh, inane philosophizing, and sand dunes announce that we're in Antonioni-land, circa
Nina's Tragedies (2005)
Passing eccentricities of character, but serious trouble staging honest and coherent emotional scenes....a surplus of preciousness and a deficit of truth-ringing reality.
Sud Pralad (Tropical Malady) (2005)
Weerasethakul's confident composition of sight and sound induces a trance-like state with an elegant suggestion: that all-consuming love is for old souls.
Sky High (2005)
Dissatisfying to an adult audience accustomed to more sophisticated parody....will resonate with young viewers on their way to high school.
Lucas insists, "I just don't think war should become some kind of video game." Too late.
Must Love Dogs (2005)
Cutesy stuff, breezily amusing but...a basically weightless and disposable date movie.
Partly an internalized memory play and partly a strident drama in the vein of Strindberg or Ibsen, Ingmar Bergman's latest swan song to cinema bears the mark of a master.
Gus Van Sant's Last Days (2005)
A sincere effort to sound an echo into Kurt Cobain's cave....Van Sant turns photographic art into screen poetry.
Telegraphs its unsatisfying payoff for miles, has no fun getting there, but at least boasts a running time of 73 minutes, padded by a hilariously slow credit crawl.
Horem pádem (Up and Down) (2005)
Weaves the politics of borders into the comedy of human frailty...seasoned with the everyday absurdities of artificial social boundaries.
Wedding Crashers (2005)
Seen with forgiving eyes,
is trashy, raunchy fun.
Happy Endings (2005)
Secrets and lies laid bare by a strong cast make Roos' happy endings cathartic and reassuring.
MANA—beyond belief (2005)
The medium is also the message: the film itself has mana, offering "a gateway into a whole realm of knowledge," material and spiritual.
Fantastic Four (2005)
So much...is bungled with inept storytelling and watered-down dialogue, and Story is so powerless to right the course, that
winds up more dopey than fun.
Le Vieil homme et l'enfant (a.k.a. The Two of Us) (1967)
A story that hasn't gone out of style....Perhaps Berri spoke for himself through the old man's self-summation: 'I don't have a church bell for a heart, but I respect life.'
is sort of imaginative and considerably scattershot....succeeded only in making me groggy.
Never less than intriguing, and often adrenalized....[depicts] men who live harder than most "able-bodied" individuals.
Dark Water (2005)
doesn't run deep....Salles keeps his head above [it]...with superior acting, mise en scene, story, script, and photography.
War of the Worlds (2005)
Has all the mechanized ingenuity of one of those dazzling Tripods, but the bigger they are....it's the gutless ending that renders
War of the Worlds
In My Country (a.k.a. Country of My Skull) (2005)
A wasted opportunity to tell in filmic terms two important histories: the crimes of apartheid and the love with which they were answered.
Coming soon to a theatre near you: "Water Wings," with Adam Sandler coaching a swim team, and "With a Paddle," starring Eddie Murphy as a ping-pong coach.
George A. Romero's Land of the Dead (2005)
Romero delivers the satire and the gory action...[but this] isn't the masterpiece the posters claim. Still, lackluster Romero is better than no Romero at all...
Dance as an expression of the African collective unconsciousness, an expression of the anger born of oppression, and an expression of faith to overcome hardship.
Dawn of the Dead (2004)
As needless remakes go, Dawn of the Dead ain't half bad. George Romero's 1979 original was a B-movie masterpiece blending brutal terror and sick humor. If Zack Snyder's "re-envisioning" "improves" on...
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