Movie Review | 'Hatchet': A Cut Below
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Opening like a Mardi Gras edition of âGirls Gone Wildâ and closing with a reverent nod to âFriday the 13th,â âHatchetâ is more concerned with touchstones than with terror.
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Without a Paddle is a comedy with equal parts testosterone and sentimentality. In other words, it&#39;s a guy film that chicks will dig, too.
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There is plenty of sorrow to be found in âInto the Wild.â But though the filmâs structure may be tragic, its spirit is anything but.
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This well mannered film wants to be an outdoor, barbecue-grilled "Barbershop" but lacks the pungency and honesty of its prototype.
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Anders Thomas Jensen's film about the cannibal business is neither high flying enough for the art house nor low down enough for the cult-video shelf.
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I met an old friend for coffee in San Francisco yesterday afternoon, and had a few hours to kill before stopping in at the Wired reunion party. I didn't want to drive back to Berkeley because the weather was so crummy, and I was just across teh street from a movie theater and was just in time for the start of a movie that lots of people had been telling me to see. So I went. The movie -- The Diving Bell and the Butterfly, I had no idea what it was about until the movie started, then I remembered hearing a Fresh Air show about it and finding it too painful to listen to. Now here I was in the theater, not just being asked to listen to it, but being asked to live it. Through some very wonderful film-making, you feel as if what is happening to the main character is happening to you. Or more accurately, probably, you get the slightest hint of what it's like to be this person. My immediate impulse, one which I gave serious consideration to, was to pack up my things and leave. Anything would be better than spending three hours living this guy's life.  Two things happen over time: 1. You get over it. 2. They change perspective, and instead of being inside his body, you move outside it.  I think those two things are the story we all live as we mature and learn to live inside our own bodies, with their limits. You learn to step outside and see the humor in your predicament. The main character says he lives in a diving bell because it's as hard for him to communicate with other people as it would be at the bottom of the ocean inside a diving bell. The movie teaches that it's not much easier for the rest of us, even though we can manipulate symbols better. On the other hand, of course it is. The film develops a relationship between the hero and his father, between the hero and his own children, his ex-wife, his lover.  We strive for deeper understanding of ourselves and each other. But it may be ridiculously easy to find the only meaning that exists, without language, without intellect, by just being. The Diving Bell and the Butterfly should probably be the picture of the year for 2007, it's that good. But like all great art it shows you something truthful about yourself, and you may or may not want to see it.
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Religion isnât easy, but itâs rarely looked tougher than it does in this intimate and disturbing film.
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Much maligned filmmaker Uwe Boll is taking on his critics -- in the boxing ring. But will it make him a better director? Nah
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As the fighting in Iraq drags on, a new genre of film is emerging and evolving into something vastly different from the classic war movie canon established by previous generations.
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A fantastically grotesque retrospective of an influential-yet-overlooked filmmaker. By Jason Silverman.
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Debased, infantile and reckless in the extreme, this compendium of body bravado and malfunction makes for some of the most fearless, liberated and cathartic comedy in modern movies.
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A box-office surprise, the movie jabs hard at Americans' biases.
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The documentary âBeyond Hatredâ is an example of a film whose style doesnât merely suit its story but amplifies its meanings.
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Part rockumentary, part howl of outrage, âScreamersâ is an invigorating and articulate film.
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Geleya may well appeal to the young and the mass audience. In a nutshell the film is high on technical aspects, but low on content -- a clichÃ©d fare with some entertaining moments.
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The biopic shows admirably how liberating, and threatening, the work of some scientists can be. It's a timely film, a reminder that scientists sometimes suffer in their efforts to reveal truths others would prefer remain hidden. Jason Silverman reviews Kinsey.
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Okay, a few days ago I wrote a review of the Diving Bell and the Butterfly saying it could be the best picture of 2007, but even so you might want to skip it because the truth it reveals might be something you don't want to look at. It's a fine picture, but a tough one. Another wonderful but tough picture is No Country for Old Men. It's one of those movies that leaves so much unresolved that you walk out of the theater not sure which foot goes in front of the other. On a second viewing it makes much more sense. The world isn't necessarily as crazy as it at first seemed. But there's a movie that is also incredibly well crafted, and gets better every time you think about it -- Juno. I didn't realize how much I liked it until I heard someone compare it to Little Miss Sunshine, a movie that I did not enjoy, unlike everyone else it seems. I loved Juno because it organizes its sweetness into love for one person, the star of the movie, Juno. But everyone, no matter how dorky or clueless (and some of the adults are truly dorky and clueless) shares the love. The movie has a wholeness, an unqualified goodness, you not only walk out of the theater in love with Juno and everyone else in the movie, but your heart is warmed for everyone, including yourself. It's that good.  All three remind how good movies can be. And there were some not-too-bad movies at the end of 2007, for example, Atonement, which some didn't like, but I did. 3:10 to Yuma is a well-crafted genre picture. Michael Clayton was a perfect showcase for the talents of George Clooney. Great acting and a simple story in The Savages.  Which one was the best? I'd hate to have to choose!