This review appeared in the Chicago Reader on February 5, 1993. —J.R.
*** (A must-see)
Directed by Joe Dante
Written by Charlie Haas and Jerico
With John Goodman, Cathy Moriarty, Simon Fenton, Omri Katz, Lisa Jakub, Kellie Martin, Jesse Lee, Lucinda Jenney, James Villemaire, and Robert Picardo.
I suggested a few new promotional gimmicks for the play — a closed black coffin outside the theater and Oriental incense to get the audiences in the mood. The stage manager agreed to try another of my ideas — Count Dracula would vanish on stage in a cloud of smoke, then suddenly reappear in the audience. Snarling at the frightened spectators, he would again vanish and appear back on stage. I began to learn firsthand the value of good publicity and showmanship.
Adolf Hitler was unwittingly to teach me the lesson again nine years later. Hitler was indirectly responsible for opening the doors of Hollywood for me. — William Castle, Step Right Up! I’m Gonna Scare the Pants Off America: Memoirs of a B-Movie Mogul
It’s not the Russians — it’s Rumble-Rama. — Lawrence Woolsey (John Goodman) in Matinee
As luck would have it, I saw Joe Dante’s ferocious and lighthearted new comedy, Matinee — about John F. Read more
From the Chicago Reader (September 3, 1993). — J.R.
Originally known in French as Jacquot de Nantes, this is a loving and lovely reenactment of the wonderful French New Wave director Jacques Demy’s childhood in Nantes, made by his wife Agnes Varda while Demy was dying of AIDS. Brief glimpses of Demy’s movies and Demy himself are craftily woven in to show us how his mainly happy childhood and his early efforts as a filmmaker and animator tended to nourish all his subsequent work. He brought an enchanted fairy-tale sensibility to such features as Lola, Bay of Angels, The Umbrellas of Cherbourg, The Young Girls of Rochefort, and Donkey Skin, and Varda does a fine job of showing the roots of this work without succumbing to easy sentimentality. Recommended. Music Box, Friday through Thursday, September 3 through 9.
From the November 1, 1993 Chicago Reader. This is my favorite Hou Hsiao-hsien feature. –J.R.
Hou Hsiao-hsien’s masterpiece about the childhood and early adulthood of octogenerian Taiwanese puppet master and actor Li Tien-lu. This is the second part of a trilogy about Taiwanese life in the 20th century, covering all but the first few years of the Japanese occupation of Taiwan (1895-1945). Hou’s preference for filming entire scenes in long takes from fixed camera angles and for eschewing close-ups has never been as masterfully employed and modulated as it is heresome of the landscape shots are breathtaking. The film alternates between re-created scenes from Li’s life, Li speaking directly to the camera about his past, and extracts from his puppet and stage performances, creating a layered density in the narrative that does full justice to the complexity and poetry of Hou’s investigation. In Mandarin and Taiwanese with subtitles. 142 min. (JR)