And while it's not nearly so good as McLaglen/Stewart's devastating Civil War idyll Shenandoah, Bandolero! is still better than it probably should be, saved by its above-the-line talent. McLaglen's Bandolero!, the last of the three westerns the director made with Jimmy Stewart, appeared in 1968, the same year as the end of Sergio Leone's Spaghetti Western cycle ( Once Upon a Time in the West) and alongside such seminal generational discomfort flicks as Rosemary's Baby and Night of the Living Dead. Starring Bill Cosby, Raquel Welch, Harvey Keitel, Allen Garfieldīy Walter Chaw Very much the product of its time, Andrew V. Screenplay by Michael Sarne and David Giler Starring Mae West, John Huston, Raquel Welch, Rex Reed Starring James Stewart, Dean Martin, Raquel Welch, George Kennedy Fascinatingly, the two films share Michael Pitt, forging a path for himself as the archon for the modern dreamer raised on lethal doses of popular culture, and weaning himself from that luxuriant udder only with great difficulty.Ĭontinue reading "The Dreamers (2004) Rhinoceros Eyes (2003) Stealing Beauty (1996) - DVD|The Dreamers (2004) - DVD" »
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There have been pictures about an all-devouring cinephilia before ( Cinema Paradiso, say, or 8½), and now a pair of films by two directors at opposite ends of their careers-Bernardo Bertolucci's The Dreamers and Aaron Woodley's 2003 TIFF Discovery Award-winner Rhinoceros Eyes-strive to blur the line between movies and reality in twin tales of sexual maturation, of coming of age in a movie house-of, to parse The Judybats, learning how to kiss watching James Dean movies. And the irony is that directors, the good ones, are already lost and have been for years. Starring Michael Pitt, Paige Turco, Gale Harold, Matt Servittoīy Walter Chaw The danger is getting lost in fantasy, of being consumed by the lunar flame of lamplight filtered through celluloid. Starring Michael Pitt, Louis Garrel, Eva Green, Robin Renucci In Michell's hands, a relatively working-class set of characters becomes incongruously bourgeois through sensuous camera moves and catalogue-ready tableaux accentuated by not only walls of Kubrickian white, but also a decidedly 'upscale' piano score. It's a phenomenal talent, but one that betrays him on The Mother by making glib the film's subject matter. From the three Michell pictures I've seen ( Titanic Town (which I barely remember), Notting Hill (which I like), and Changing Lanes (which I really like)), the director's specialty seems to be equalizing peculiar material through dynamic imagery, thus imbuing it with commercial appeal. If we're not exactly stuck with Michell, he's florid in a way that Frears is not and in a way The Mother does not call for the movie's look, though attractive in and of itself, is a syntax error. Starring Anne Reid, Daniel Craig, Cathryn Bradshaw, Peter Vaughanīy Bill Chambers The latest from Roger Michell, The Mother seems die-cut for Stephen Frears (it was scripted by Hanif Kureishi, author of Frears's My Beautiful Laundrette and Sammy and Rosie Get Laid), and one can imagine it having attracted Ken Loach or Mike Leigh with only minor tweaks.
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