Mar 11-17, 1998

Mar 11-17, 1998 / Vol. 18 / No. 22

Ooze & Blues

Fireworks is the seventh film of writer-director-editor Takeshi Kitano, a meditative action flick whose unlikely combination of nihilistic violence and lyrical, eliding camera work results in something like the melding of the sensitivities of John Woo and Michelangelo Antonioni. Kitano also plays the lead, an understandably taciturn ex-cop named Nishi whose child has recently died,…

For Ever Mozart

Jean-Luc Godard has been making a certain type of highly personal, fragmented and doggedly philosophical film for almost 40 years now and, on the evidence of his latest feature to be released here, 1996’s For Ever Mozart, he shows no signs of changing his recondite ways. While DFT-goers had an opportunity last season, with the…

Kissing a Fool

Why has Chicago become the most romantic city in recent movies? While You Were Sleeping, My Best Friend’s Wedding, love jones and now Kissing a Fool have showcased Chicago as the place to fall in love. But it’s not just the location which makes this latest Chicago-based romantic romp feel overly familiar. Kissing a Fool…

Twilight

In the few charged minutes of twilight, the sky retains the sun’s radiance while it gradually succumbs to encroaching darkness. The characters in Twilight, co-written and directed by Robert Benton (Kramer vs. Kramer, Nobody’s Fool), are suspended in those slippery moments, trapped somewhere between nostalgia and dread. Harry Ross (Paul Newman) is rapidly sliding into…

U.S. Marshalls

Some actors are born to play certain roles. Burt Reynolds, for example, can flex a brow like no other, bringing a certain genteel sleaze to a horny senator (Striptease) or a paternalistic pornographer (Boogie Nights). Tommy Lee Jones has that voice, part edgy Southern gentleman (James Carville without the caffeine), part Harvard erudite. Even when…


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