American cinema has too long glossed over the reality of the huddled masses.
Toto, We’re Not in Cannes Anymore
December 15, 2010
Last week, I attended the Marrakech Film Festival. I had never been to a film festival before, but the experience was in some ways no different from what I had imagined about Cannes or Sundance, albeit with a somewhat lower glamour quotient. The opening gala, complete with red carpet and paparazzi, was staged in a swanky convention hall surrounded by five-star hotels. The requisite stars made appearances: Jury chairman John Malkovich spoke acceptable French to his TV interviewer, while Keanu Reeves, displaying some alarming facial hair, didn’t bother to try.
Why Is Everyone So Obsessed With ‘Inception’?
July 21, 2010
There are plenty of moments in its 150 minutes when Inception is flying in mid-air, uncertain whether there is a safety net or a parachute of coherent plot to explain its entire exhilarating enterprise. Don’t ask to have its theory of dreaming spelled out in foolproof detail, just know that the age-old love affair between dreaming and the movies has been reasserted. Above all, treasure the film’s serene lack of exhausting violence or ingenious cruelty.
The Movie Review: 'Public Enemies'
July 02, 2009
It's taken countless hours of TV crime-drama ("Crime Story," "Miami Vice") and nearly a dozen feature films (Heat, Collateral, Miami Vice again), but in John Dillinger, Michael Mann may finally have found an ideal vessel for his particular vision of masculine cool: stylish, charismatic, unflappable, adept at violence but not hungry for it. After spending nine years in prison for his rookie robbery (a grocery-store heist that allegedly netted him $50), Dillinger emerged in May 1933 to launch perhaps the most storied crime spree in American history.