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Movie Reviews

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    REVIEW | Hard Lessons: Nicolas Hytner's "The History Boys"

    by Michael Koresky on November 20, 2006

    What was evidently innovative on stage has become turgid and rote onscreen: Nicolas Hytner's big-screen adaptation of Alan Bennett's wildly praised, Tony-winning "The History Boys" is, as will be noted even in positive reviews, saddled with clumsy musical cues, dreadful montages of frolicking, and o...

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    REVIEW | Raw Meat: Richard Linklater's "Fast Food Nation"

    by Michael Koresky on November 16, 2006

    Everything about Richard Linklater's terrific new movie "Fast Food Nation" is something of a red herring. A film about huge subjects writ tiny, this freeform fictional adaptation of Eric Schlosser's best-selling nonfiction expose of the meat and processed food industries is not really about the meat...

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    REVIEW | Buzz Kill: Christopher Guest's "For Your Consideration"

    by Michael Koresky on November 15, 2006

    Breaking free of the mockumentary shackles that had become his exclusive domain, Christopher Guest gets back to mirthful basics with "For Your Consideration," which is less a La-La-Land satire than a glorious sketch comedy throwback. The Guest troupe, many of whom hail from the Seventies Canadian sh...

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    REVIEW | Obscure Object: The Brothers Quay's "The Piano Tuner of Earthquakes"

    by Indiewire on November 14, 2006

    The degree to which you're able to fully invest in the Brothers Quay's new full-length "The Piano Tuner of Earthquakes" may well depend on your relationship to their earlier works. Quay regulars will probably look past the general opacity of "Piano Tuner"'s narrative, which is simple in its arc but ...

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    REVIEW | Last Trance: Fabian Bielinsky's "The Aura"

    by Kristi Mitsuda on November 13, 2006

    "The Aura" begins with a promising enough premise: A taxidermist (Ricardo Darin)--his "nobody" anonymity underscored by his namelessness--toils away and daydreams of committing the perfect crime when, as in the recent release "13 Tzameti," a sudden death opens up a dangerously exciting opportunity....

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    REVIEW | Hoodwinked: David Ayer's "Harsh Times"

    by Nick Pinkerton on November 9, 2006

    "Harsh Times," the directorial debut of screenwriter David Ayer ("Training Day," "Dark Blue"), is the spectacle of an anemic talent thrashing amidst oversized ambitions. Ayer seems to have some strong feelings about street life, government skullduggery, masculinity (his he-man cred's well establishe...

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    REVIEW | Natural Beauty: Byambasuren Davaa's "The Cave of the Yellow Dog"

    by Kristi Mitsuda on November 9, 2006

    Possessed of the most minimal of storytelling arcs, "The Cave of the Yellow Dog" can't be summed up easily--to do so is to miss the core of its uncommon loveliness. Though ostensibly the film hinges on a young girl, Nansaa (Nansal Batchuluun), and the conflict that arises when she finds a stray dog...

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    REVIEW | Little Voices: Joey Lauren Adams's "Come Early Morning"

    by Kristi Mitsuda on November 8, 2006

    Is "Come Early Morning" a parallel universe imagining of what would've become of Ruby Lee Gissing had she stayed stuck in her small Southern town? As the titular twentysomething of Victor Nunez's 1993 "Ruby in Paradise," Ashley Judd went off to Florida to find herself; as thirtysomething Lucy in th...

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    REVIEW | A Close Shave: Steven Shainberg's "Fur: An Imaginary Portrait of Diane Arbus"

    by Nick Pinkerton on November 7, 2006

    If Diane Arbus is an artist whose work has held any importance for you, then here's the good news that accompanies the release of "Fur," starring Nicole Kidman as the late photographer: none of Arbus's photos ever get dragged onscreen, and Kidman's hazy, de-Semitized performance is such a disconnect...

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    REVIEW | A Million Little Pieces: James Longley's Iraq in Fragments

    by Michael Rowin on November 6, 2006

    It seems nary a month goes by without a new documentary about the Iraq War arriving at the local art house, with results ranging from the political thesis on the current U.S. military industrial complex in "Why We Fight" to brutal firsthand accounts of combat in "Occupation: Dreamland" and "The War ...

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