Movie Review | 'Honeydripper': Way Down in Harmony, With Mythic Blues Again
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âHoneydripper,â directed by John Sayles, is a shambling fusion of pop mythology and social mosaic.
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Two disaster movies visit ancient history and the near future to tell disquietingly relevant stories
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The Forgotten plays by all the rules expected from paranormal thrillers to deliver a nice punch, hold the melodrama. By Jason Silverman.
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Periodic bursts of cleverness and eye-popping imagery canÂt disguise that this is just another movie full of jive-talking computer-generated animals with little new to say.
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The journey of Henry Winterstern is a classic tale of Hollywoodâs irresistible lure and the hubris that so often leads to a sudden demise.
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"Legong: Dance of the Virgins" is a delirious blend of sentimental fiction and ethnological fact. Also, Orson Welles's "It's All True" and "Spider-Man 2."
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The meek, mopey comedy âIn the Land of Womenâ is the film equivalent of a sensitive emo band with one foot in alternative rock and the other in the squishy pop mainstream.
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The line between fact and clichÃ© has always been rather tenuous when it comes to movies about famous musicians, considering that so many have tread the same self-destructive path.
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Very rarely do you come across a film that reflects the moods of the years gone by. KHAMOSH PANI ['Silent Waters'], directed by Sabiha Sumar, is one such film.
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It has been well recorded that the mid-nineties are best known for sudden popularity of independent cinema, but independent from what? The term "indie" is as slippery when applied to films as it is to music. The studio at the vanguard of this "revolution" was Miramax, which was long a subsidiary of Disney, and as for the "revolution" itself, it unleashed more painful and derivative Pulp Fiction clones than it did anything truly revolutionary. It was bled dry, turned inside out, repackaged, and sold back to the masses until it became the paradigm of unhipness. This seems to be the nature of all revolutions, from the Soviets to the Sixties; the bullshit always comes full circle.     While it's easy to be cynical of all so-called revolutions in hindsight, what one can't be cynical about is the intense enthusiasm audiences had for the so-called independent cinema of this era. To every person who ever dreamed of being in the director's chair, it seemed like all one needed to have the new hit movie was a vast knowledge of pop culture, the ability to write pages worth of rambling dialogue, and a Visa card.
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Late in his new film, the wildly gifted French director Arnaud Desplechin yanks the rug from under his characters and sends both them and us reeling.
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A jaunty assortment of parlor magicianâs tricks ornament this fast and funny production. But the real magic happens when the bad actors take over.
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A silent cinema revival glories in black-and-white imagery and rich live music for postmodern tales. It makes an "unfilmable" Lovecraft classic a piece of cake. By John Brownlee.
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&quot;Southland Tales&quot; imagines a Los Angeles on the brink of apocalypse in 2008, when the Internet is under government control, gasoline is replaced by something called &quot;fluid karma&quot; and the Democratic Party has splintered into neo-Marxist cells.
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The latest and lamest version of Don Siegelâs 1956 pulp classic âInvasion of the Body Snatchersâ might have been an accidental camp classic if its politics werenât so abhorrent.
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âSweeney Toddâ is as much a horror film as a musical. It is also something close to a masterpiece.
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Russell Banksâs new novel bears less resemblance to any of his gritty, visionary epics than it does to a melodramatic B movie from the 1940s.