Word: filmã
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...light appetizer to Kill Bill’s sanguineous mound of beef tartar. Countless appendages are whittled off from their previous proprietors, who all too frequently remain alive long enough to writhe about, expelling their share of the hundred gallons of fake blood Tarantino supposedly utilized for in the film??s production...
...better solution to the problem would simply be to abolish NC-17 altogether, and institute an R+ rating (an A rating would be too close to the term “adult film?? for comfort). A fate similar to that of the X and NC-17 could be avoided by a complementary ad campaign featuring big players in Hollywood extolling its virtues. It could even be kickstarted by resubmitting the director’s cuts of such reputable films as Last Tango in Paris and Eyes Wide Shut, establishing the R+ as a comfortable territory for directors...
...style to style, varying between blaxploitation, spaghetti westerns, Hong Kong kung fu, Japanese samurai and anime. By ambitiously employing all of these disparate styles, constituting several departures from the standard of color live-action, the film risks appearing choppy and uneven. However, in reality this is one of the film??s most valuable assets, imbuing it with a strong sense of the mythic and legendary place occupied by film in our society. As Tarantino explains in the film??s press release, “There are two different worlds that my movies take place...
...Pekar. For the majority of the film, he is portrayed by Paul Giamatti, who pulls no punches in presenting the artist in all his ill-tempered glory. At other times, the actual Pekar appears in the form of footage from David Letterman appearances or to comment on the film??s production. At other times, he is shown as no more than a pencil sketch. These interpretations intermingle to give a fully realized portrayal of this oddly compelling figure. By maximizing the potential of the motion picture art form, Splendor manages at once to revel in its constructions...
...dwindling with each successive release, Woody Allen pulls out all the stops to attract an audience for Anything Else. His pre-film desperation apparently was so great that he even managed not to cast himself as romantic lead opposite an actress 40 years his junior. Christina Ricci and the film??s overall plausibility level benefit as a result, but Anything Else has nevertheless been a catastrophe for both Allen and his financial backers. The movie is marginally better than the director’s other recent efforts, even making a few Annie Hall-worthy observations and launching...