Lock, Stock, and Two Smoking Barrels, writer/director Guy Ritchie’s first feature, doesn’t just borrow from Pulp Fiction; it wants to be its British equivalent. Surprisingly, it’s mostly successful, nailing the seemingly offhand style, the description-proof plot, and the casual violence.
A big part of the charm of Lost in Translation is that there is no epiphany and little character development; it’s a gentle, intimate study of two specific but relatable characters with the detail and resonance of a good short story. It approaches modest perfection.
You’re in your apartment. Your husband has gone to work. There’s a knock at the door. A genial man says he’s the plumber. You explain that you haven’t called for a plumber. He replies that he’s checking the pipes of all the apartments because of a pressure problem. You let him in; his story seems reasonable, and he’s got the right tools. It’s an act of trust. He says his name is Max.
You’re watching The Plumber. This setup is awfully familiar. You know the plumber’s a violent man, capable of unspeakable deeds. You know the wife, Jill, is in trouble. It’s an act of trust.
Peter Weir’s debut, The Cars That Ate Paris, is good art and a bad movie. It fails fundamentally as a narrative, but it has enough interesting things going on that it’s compelling in spite of itself.
Oscar nominee Alec Baldwin isn’t bad in The Cooler, but he’s not any good, either, and the film as a whole is terrible. The best thing I can say about Baldwin is that he’s the only performer who doesn’t look completely adrift in this disaster. If the Academy Awards measure a performer’s work relative to everybody else in a picture, then give Baldwin the statuette. Otherwise, his nomination is a joke.
I wish The Station Agent didn’t make me feel so dirty, because the dialogue is tart and the performances are exquisite. But the use of a dwarf as the lead character feels wrong, cheap, and exploitative.
Coming a decade after Schindler’s List, Roman Polanski’s The Pianist seems wholly reactionary, a conscious counterpoint and correction to Spielberg’s popular and important but overly manipulative tear-jerker.
Terrence Malick spent 20 years away from Hollywood, 10 of those bringing The Thin Red Line to theaters. The work that ended up on the screen clearly stewed too long in one man’s brain, and I expect the movie the reclusive director thought he made is actually quite different from the one I saw.
In the end, there’s much to like about John Malkovich’s The Dancer Upstairs. But something isn’t right, nagging and prodding and saying that the movie isn’t all it might have been. It’s intelligent but not sharp, subtle in small moments but clunky overall, engaging without being engrossing, and sad but not heartbreaking. It’s as if there’s a layer of mist over the movie, dulling it, and that’s caused by Malkovich’s over-deliberate approach.
Since seeing the charming, sweet, and smart Pieces of April a few days ago, I’ve been trying to figure out why it brought to mind the sadly underrated and under-seen Stuart Saves His Family.
