Tolerable revenge comedy (1996) starring Goldie Hawn, Diane Keaton, and Bette Midler as the spouses in question; you’ve seen it all before, but the three stars perform with style. Directed by Hugh Wilson (Police Academy) from a script by Robert Harling; with Maggie Smith, Dan Hedaya, Bronson Pinchot, and Marcia Gay Harden. 102 min. (JR) Read more
This 1995 sketch film, which adapts three Paul Bowles storiesMerkala Beach, Call at Corazon, and Allalwas written and directed by the German team of Frieder Schlaich and Irene von Alberti, with dialogue in English and Arabic. It calls to mind the English features Quartet (1949) and Trio (1950), which adapted stories by Somerset Maugham, in its use of the original author as host and narrator. Basically the sections are mood pieces, and how you respond to them will have a lot to do with how much you’re seduced by their exoticism, strangeness, and atmosphere. I wasn’t much. (JR) Read more
Another relatively lightweight sketch film from Eric Rohmer (1994)shot, like the 1986 Four Adventures of Reinette and Mirabelle, in 16-millimeter. The three sketches all involve romantic meetings in public places, bridged by a cornball singer and accordion player; their charm lies in the Paris exteriors and the unknown but adept youthful cast. Though the stories are all well crafted, the film seems slighter and a bit more smug than most other Rohmer pictures. In French with subtitles. 100 min. (JR) Read more
George Hickenlooper, codirector of the popular documentary Hearts of Darkness: A Filmmaker’s Apocalypse, was once quoted as saying that he purchased the rights to Orson Welles’s unrealized script The Big Brass Ring in order to direct it himself, because he was basically an auteurist at heart; I’ve been wondering ever since how an auteurist could be interested in making somebody else’s work. If you want to know what a Hickenlooper movie consists of, there’s this 1995 feature set in Los Angeles. It’s about an aspiring novelist (Rory Cochrane), his roommate (Sean Astin), a father-and-son slumlord team (J.T. Walsh and James LeGros), and one of their tenants (Kyra Sedgwick); John Enborn collaborated on the script. This Generation X exercise doesn’t have much identity of its own, though the cast is pretty good. And I guess it has some minimal bite if your expectations aren’t too high. (JR) Read more
An absorbing, instructive, and entertaining documentary by R.J. Cutler (producer of The War Room) and David Van Taylor about the 1994 Virginia senatorial campaigns of incumbent Charles Robb and his main opponent, Oliver North. In addition to some delicious detailsNorth’s victory speech, for example, was converted with hardly any changes into a concession speechthis offers lots of depressing but useful information about how contemporary political campaigns are masterminded and executed. (JR) Read more
A great movie (1989), but not a pleasant or an easy one. Directed by the transgressive Kira Muratova in her mid-50s, it has been rightly called the only masterpiece of glasnost, though it was banned by the Russian government for obscenity. Beginning as a powerful black-and-white narrative about a middle-aged woman doctor in an exploding, aggressive rage over the death of her husband (who resembles Stalin), the film eventually turns into an even more unorthodox tale in color about a schoolteacher (cowriter Sergei Popov) who periodically falls asleep regardless of what’s happening around him. (The title alludes to a form of disability that encompasses both the doctor’s aggressiveness and the schoolteacher’s passivity.) Though this tragicomic epic has plenty to say about postcommunist Russia, it also deals more generally with the demons loose in today’s world. It may drive you nutsas it was undoubtedly meant tobut you certainly won’t forget it. In Russian with subtitles. 153 min. (JR) Read more
With the possible exception of Yasujiro Ozu’s Tokyo Story, this 1937 drama by Leo McCarey is the greatest movie ever made about the plight of the elderly. (It flopped at the box office, but when McCarey accepted an Oscar for The Awful Truth, released the same year, he rightly pointed out that he was getting it for the wrong picture.) Victor Moore and Beulah Bondi play a devoted old couple who find they can’t stay together because of financial difficulties; their interactions with their grown children are only part of what makes this movie so subtle and well observed. Adapted by Vina Delmar from Josephine Lawrence’s novel Years Are So Long, it’s a profoundly moving love story and a devastating portrait of how society works, and you’re likely to be deeply marked by it. Hollywood movies don’t get much better than this. With Thomas Mitchell, Fay Bainter, and Porter Hall. 91 min. (JR) Read more
A rather tedious kidnapping movie (1996) by writer-director Lisa Krueger, despite the novelty of the kidnappers being sisters, one of whom is pregnant, and the kidnapped person being a nurse (Mary Kay Place) needed to help with the birth. At least Place turns in a lively performance. With Scarlett Johansson and Aleksa Palladino. R, 97 min. (JR) Read more
A lovely and nuanced character study of a once famous World War II fighter pilot named Nadezhda Petrovna (Maya Bulgakova) who becomes a provincial schoolmistress, raising her adopted daughter as a single mother. Larissa Shepitko’s 1966 black-and-white feature is stately and reflective in a way that reminds me of some of the late films of John Ford; its commentary on the pervasive effect of Stalinism on postwar Russia is multilayered and provocative. Written by Natalia Ryazantseva and Valentin Yezhov. In Russian with subtitles. 90 min. (JR) Read more
Natalie Wood is an adolescent who goes from rags to riches as a Hollywood movie star in the 30s. Gavin Lambert wrote the screenplay for this 1965 feature, adapting his own satirical novel; the talented director Robert Mulligan (To Kill a Mockingbird), apparently engulfed by studio overproduction, falters at times, not always knowing whether to play things straight or for laughs. Andre Previn wrote the sometimes memorable score, and Herbert Ross choreographed the musical numbers. With Robert Redford, Christopher Plummer, Ruth Gordon, and Roddy McDowall. 128 min. (JR) Read more
Not to be confused with the 1959 Mamie Van Doren-Mel Torme exploitation item, this is an uneven first feature (1996) by independent filmmaker Jim McKay about the friendship of three rebellious high school seniors; it won the special jury prize at the 1996 Sundance film festival. McKay collaborated with his three stars (Lili Taylor, Anna Grace, and Bruklin Harris) and Denise Casano on the script, and there’s more good will toward the characters on display than insight. (JR) Read more
A commendable but ultimately perplexing failure. This ambitious first feature by writer-director David Koeppwhose writing credits include Apartment Zero, Carlito’s Way, Jurassic Park, and Mission: Impossibledeals with the thin crust of civility and communal trust that informs contemporary American life, and the little it takes to slice it through. The cutting edge here is a widespread power outage that’s never explained; the central characters are a couple (Kyle MacLachlan and Elisabeth Shue, both giving very nuanced performances), their infant daughter, and an old friend (Dermot Mulroney, also good), and the movie recounts the siege mentality that sets in among the adults and their neighbors over a weekend. It opens wonderfully and provocatively by tracking a chain reaction of petty gripes from one character to another through a shopping mall, and thanks to the actors and direction continues to hold interest, despite curious gaps in the story line and an abrupt conclusion. One wonders if studio recutting is responsible for some of the confusions. With Richard T. Jones, Bill Smitrovich, and Michael Rooker. (JR) Read more
Vive l’amour
Tsai Ming-liang’s striking and beautiful second feature, a haunting look at alienation among three young individuals in Taipei–a real estate agent, a street vendor, and a gay and painfully withdrawn burial-plot salesman–won the Golden Lion at the Venice film festival and remains one of the key modernist works of the Taiwanese New Wave. Working principally without dialogue–with a feeling for both modern architecture and contemporary urban despair that often recalls Michaelangelo Antonioni–it gathers force slowly but builds to a powerful and devastating finale. Film Center, Art Institute, Columbus Drive at Jackson, Saturday, August 17, 3:30, 443-3737.
–Jonathan Rosenbaum
Art accompanying story in printed newspaper (not available in this archive): Photo from Vive l’amour. Read more
Curtis’s Charm
To say that John L’Ecuyer’s lovely black-and-white 16-millimeter (1995) adaptation of an autobiographical story by Jim Carroll–playing at the Chicago Underground Film Fest–is incomparably better than the movie version of The Basketball Diaries isn’t saying very much. Better to say that it’s sweeter, warmer, sharper, and filled with more human understanding than Trainspotting as it deals with a similar portrait of friends going in and out of drug addiction, this time in the lower reaches of New York City. Atom Egoyan and Patricia Rozema served as executive producers, and the performances of Maurice Dean Witt as a crackhead who thinks that his wife and mother-in-law are casting voodoo spells on him and Callum Keith Rennie as the friend who tries to talk him through his fantasy are highly charismatic as well as letter perfect. Carroll, incidentally, likes this movie himself, and it isn’t hard to see why. Theater Building, 1225 W. Belmont, Saturday, August 17, 9:00, 866-8660.
–Jonathan Rosenbaum
Art accompanying story in printed newspaper (not available in this archive): Photo from Curtis’s Charm. Read more
Butterfly Kiss
If you’re sick of kinky killers and English rip-offs of American genre movies, this terminally bleak and violent 1995 road movie may irritate the hell out of you–unless you’re as impressed as I was by Amanda Plummer’s performance as an impulsive lesbian murderer searching for her ex-lover and dragging along Saskia Reeves on her adventures. Just when I was about to give up on this shocker as the worst kind of deja vu, it unexpectedly reminded me of the fury of Flannery O’Connor and some of her craziest and most alienated characters–and roped me back in. Michael Winterbottom (Family) directed, fairly adroitly, from a script by Frank Cottrell Boyce. Music Box, Friday through Thursday, August 9 through 15.
–Jonathan Rosenbaum
Art accompanying story in printed newspaper (not available in this archive): Photo of two women from “Butterfly Kiss”. Read more