18 Apr 2007

Billion Airs: "The Hoax," "Disturbia," "Aqua Teen Hunger Force Colon Movie Film for Theaters," and "Are We Done Yet?"

By Mike Schulz

Richard Gere and Julie Delpy in The HoaxTHE HOAX

Offhand, I can think of no performer less well-suited to play a desperate, talkative, Jewish novelist than Richard Gere. Yet in Lasse Hallström's The Hoax, Gere is asked to portray exactly that - real-life author Clifford Irving, who, in 1971, received a $1-million advance for concocting a fictional autobiography of reclusive billionaire Howard Hughes - and the perceived miscasting turns out to be the movie's subtlest masterstroke.

06 Dec 2005

What the "Flux"?: "Aeon Flux," "Bee Season," "The Ice Harvest," and "Magnificent Desolation: Walking on the Moon 3-D"

By Mike Schulz

Charlize Theron in Aeon FluxAEON FLUX

By all rights, Aeon Flux should be godawful. (Certainly, Paramount is treating it like it is, as the studio opted against pre-release screenings for fear of lousy advance notices.) Set some 400 years in the future, director Karyn Kusama's film - a big-screen vehicle for MTV's Liquid Television character - takes place after 99% of the earth has been eliminated by a virus, the most humorless 1%, apparently, having been left to roam the earth. Charlize Theron's Aeon leads a Spandex-clad revolt against the government, and the movie is, for the most part, a joke; the effects are particularly shoddy, and as they recite their clunky dialogue, you feel badly for several performers - when they were being feted as Oscar nominees, did Theron, Frances McDormand (in a red fright wig), Sophie Okenedo and Pete Postlethwaite ever think it would come to this? (The film's one impressive performance comes from Marton Csokas, who's like a more rugged version of Kevin Spacey.)

02 Nov 2004

Post-Halloween Tricks and Treats: "Shaun of the Dead," "The Grudge," "Saw," "Shall We Dance?", "I Heart Huckabee's," "Surviving Christmas," and "Celsius 41.11"

By Mike Schulz

Simon Pegg and Nick Frost in Shaun of the DeadSHAUN OF THE DEAD, THE GRUDGE, and SAW

Halloween has come and gone, but three horror flicks are currently in theaters and - surprise! - two of them are actually good.

07 Jan 2003

For Your Consideration: "Chicago," "About Schmidt," "Catch Me If You Can," "The Wild Thornberrys Movie," and "Pinocchio"

By Mike Schulz

Catherine Zeta-Jones in ChicagoCHICAGO

Rob Marshall's film version of the Broadway smash Chicago is so ingeniously staged, so electric, and so welcome to so many of us - The Musical Is Back! - that you might find yourself somewhat heartbroken when you barely remember a thing about the film a day after seeing it.

26 Feb 2002

Queen of the Guilty Pleasures: "Queen of the Damned," "Hart's War," and "Dragonfly"

By Mike Schulz

Aaliyah in Queen of the DamnedQUEEN OF THE DAMNED

Granted, the new year is only eight weeks old, but I already have a nominee for Best Guilty Pleasure of 2002: the Anne Rice adaptation Queen of the Damned. I'm not suggesting the movie is great, or even good, but this tacky amalgam of vampire clichés, hard rock, and MTV posturing is a surprisingly deft and confident work, and about a hundred times more fun than the pompous, enervated Interview with the Vampire.

29 Jan 2002

I Damn "Sam": "I Am Sam," "The Mothman Prophecies," and "No Man's Land"

By Mike Schulz

Sean Penn and Dakota Fanning in I Am SamI AM SAM

How does one begin to discuss the blinding idiocies of I Am Sam? This comic weepie about Sam (Sean Penn), a mentally challenged Starbucks employee trying to retain custody of his young daughter Lucy (Dakota Fanning), is so shockingly offensive, both thematically and as a work of cinema, as to defy rational analysis, so here's a brief checklist of what made me want to bash my head in:

17 Oct 2000

Entertainment Nothing to Sneer At: "Dr. T and the Women" and "The Contender"

By Mike Schulz

Helen Hunt and Richard Gere in Dr. T & the WomenDR. T AND THE WOMEN

Dr. T and the Women shows director Robert Altman in a sunny, happy frame of mind - for almost an hour and a half. Trouble is, the film runs a little over two hours. As the movie nears its conclusion, it starts to go sour, and you get a gnawing feeling that Altman and his screenwriter (Anne Rapp) aren't going to know how to end their work.

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