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Movie Reviews

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    Three Extremes: Craig Lucas' "The Dying Gaul"

    by Indiewire on October 31, 2005

    Craig Lucas' "The Dying Gaul" features a wonderful, winking twist: A studio head offers a neophyte scribe one million dollars for his beautiful autobiographical screenplay about a man dealing with the death of his lover to AIDS -- as long as he changes the central relationship into a heterosexual on...

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    Idle Worship: Greg Whiteley's "New York Doll"

    by Nick Pinkerton on October 24, 2005

    "Rock history," as we know it, fueled by the obsessiveness and stunted adolescent Romanticism of its worse (and more numerous) chroniclers, basically consists of a heap of cliches so rancid that even calling them out for their rottenness has become a bit hackneyed. The druggy, self-important musicia...

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    Growing Pains: Lucile Hadzihalilovic's "Innocence"

    by Michael Koresky on October 17, 2005

    In Lucile Hadzihalilovic's "Innocence" nostalgia and dread become one--and it's a perfectly welcome symbiosis. A remarkable sustained allegory, "Innocence" luxuriates in the kind of symbolic imagery one would associate mostly with the fantastic worlds of children's fiction, but with the wherewithal ...

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    White Trash: Atom Egoyan's "Where the Truth Lies"

    by Indiewire on October 10, 2005

    Since "Where the Truth Lies" debuted at Cannes this past May, it has been beset by a censorship controversy that, like "Basic Instinct" and "Showgirls" before it, might just be its only saving grace, financially speaking. Because Atom Egoyan's latest effort is a pretty wretched film, formulaic, conf...

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    Noah's Arc: Noah Baumbach's "The Squid and the Whale"

    by Indiewire on October 4, 2005

    Barely cracking the 80-minute mark and covering well-trod ground, "The Squid and the Whale" is the kind of movie that courts underappreciation. Noah Baumbach's fourth feature is of a familiar genre, the broken-family "bildungsroman," and its denizens are known to us as well -- this is the urbane, in...

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    Tell Laura We Love Her: Ira Sachs' "Forty Shades of Blue"

    by Indiewire on September 26, 2005

    It feels like precious little happens in “Forty Shades of Blue” -- surprising for a film so fraught with disintegrating relationships and more than its fair share of infidelity. This isn’t meant to be an indictment, but praise: Ira Sachs’ ostensibly sensational narrative is m...

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    Foul Play: Thomas Vinterberg's "Dear Wendy"

    by Eric Hynes on September 19, 2005

    Putting the nature and quality of his films aside for the moment, Lars von Trier, the jolly sadist Danish director and writer, is simply useful to have around. Like a brash, needling party guest, he starts conversations. Less committed interrogator than pathological provocateur, his films demand r...

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    For the Boys: Paul Etheridge-Ouzts' "HellBent"

    by Indiewire on September 12, 2005

    Though it's far from the "first gay slasher film," as it has been momentously touted (hello? "A Nightmare on Elm Street 2: Freddy's Revenge" anyone?), Paul Etheridge-Ouzts's "HellBent" might be the first horror movie that's quite so unapologetically gay-friendly. Serial killer films have been chocka...

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    Meet Me in St. Tropez: Olivier Ducastel & Jacques Martineau's "Cote d'Azur"

    by Indiewire on September 7, 2005

    To include Olivier Ducastel and Jacques Martineau among France's best-unsung contemporary filmmakers would probably be a bit of a hyperbolic stretch. Yet in the interest of making someone sit up and take note, I'll dare to do just that. Wearing their big-hearted generosity perhaps a bit too much on ...

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    What Reverse Shot Learned During Summer Vacation: 13 Lessons

    by Indiewire on August 31, 2005

    We'd prefer not to have to once again go over the corrosive specifics of the summer's oft puzzled-over "summer slump." But with its projected "whopping" 9% drop from 2004's box-office totals and 11.5% decline in attendance, what are we supposed to do in response? Suddenly decry the paucity of strong...

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