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Movie Reviews

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    REVIEW | Split Ends: Claude Chabrol's "A Girl Cut in Two"

    At first glance, Claude Chabrol's latest seems yet another in his long line of slow-boiling thrillers, set mostly amongst the upper classes, in which the sinister bobs up above a seemingly placid surface -- compulsively watchable and strangely unsettling, sure, but par for the course for the erstwhi...

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    REVIEW | Pale Fire: Woody Allen's "Vicky Cristina Barcelona"

    Each review of a new, annual Woody Allen film needn't require an overarching, state-of-his-art introduction, but it's hard to fight the urge to do so. The fact that, even at this late stage in his career, America's most prolific just-off-mainstream filmmaker instigates such charged responses from so...

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    REVIEW | Age of Consent: Isabel Coixet's "Elegy"

    In what may be a perfect sophisto storm, none other than Sir Ben Kingsley plays Philip Roth's academic antihero David Kepesh, a solemn piano underscoring his negotiations with sex, art, and mortality in the Continental Manhattan of Isabel Coixet's new film, "Elegy." Kepesh teaches literature at Colu...

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    REVIEW | Circle Jerk: Rodger Grossman's "What We Do Is Secret"

    The world certainly isn't wanting for hagiographies of Seventies punk-rock trailblazers, but rarely has one felt as inauthentic as Rodger Grossman's feature debut, "What We Do Is Secret." Grossman short-changes his subject by framing the tragic, brief musical career and suicide of the Germs' front m...

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    REVIEW | Corked: Randall Miller's "Bottle Shock"

    In "Bottle Shock," director and co-scripter Randall Miller -- of such disparate (and dismal) output as the Sinbad-starring "Houseguest" and painfully twee indie "Marilyn Hotchkiss Ballroom Dancing and Charm School" -- seemingly extrapolates Virginia Madsen's centerpiece soliloquy on wine from "Sidew...

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    REVIEW | Sweatin' to the Oldies: Darryl Roberts's "America the Beautiful"

    Opening with "vintage" black-and-white footage of women from the Fifties huffing and puffing through antiquated exercise routines, set to Bruce Channel's "Hey, Baby," the ostensible investigative documentary "America the Beautiful" establishes its de-facto glibness within seconds. Throughout the course of the film, further video montages will be set to such ferociously on-topic chestnuts as Right Said Fred's "I'm Too Sexy," Marilyn Manson's "The Beautiful People," and Letters to Cleo's "I Wanna Be a Supermodel," ironically backing images of primped, preening girls or magazine model cut-outs. Director Darryl Roberts's mode of address is so hac...

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    REVIEW | Soft Shoe: Alex Holdridge's "In Search of a Midnight Kiss"

    From "Sunset Boulevard" to "Mulholland Drive" and beyond, most movies revolving around Hollywood hopefuls portray the greater Los Angeles area as a soulless cesspool into which the hordes can't help but sink. But in his Tinseltown-set feature "In Search of a Midnight Kiss," Alex Holdridge reimagines L.A. as a place of renewal and unsung beauty: Skyline shots inclusive of freeway traffic, graphic compositions incorporating the city's variegated architecture, and even the Hollywood sign shrouded by smoggy haze are lovingly lensed in stark black-and-white in obvious homage to Woody Allen's "Manhattan" (though this hipster kid on the block scor...

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    REVIEW | Dropped Ball: Paul Weiland's "Sixty-Six"

    There is a certain class of British film -- for which John Boorman's "Hope and Glory" is perhaps the prototype -- which follows an adolescent boy's coming of age during a notable or sentimentality-laced period of twentieth-century English history. Invariably in such films, there is a female object o...

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    REVIEW | Carnival of Old Souls: Margaret Brown's "The Order of Myths"

    It may come as something of a shock to most that in Mobile, Alabama, a culturally sanctified segregation still exists. And documentary filmmaker Margaret Brown must be relying on that shock from viewers of her exacting new film "The Order of Myths," even if it resolutely avoids sensationalism or pol...

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    REVIEW | Walking in the Air: James Marsh's "Man on Wire"

    A blow-by-blow account of how, in 1974, the impish French performance artist, and ludicrously appropriately named Philippe Petit achieved (and survived) the seemingly otherworldly when he walked on a tightrope situated 1350 feet in the air, anchored between the World Trade Center's twin towers, James Marsh's documentary "Man on Wire" is a fleet, engagingly narrated, and [insert "taut" here] suspense narrative. Like the events it's based on, "Man on Wire" is the kind of film that's more inspiring to witness than it is to later think (or write) about, but let it be said that Marsh's adeptness at mounting his tale is undeniable, and what the fil...

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