Wednesday, November 26, 1997

The Man Who Knew Too Little

Posted By on Wed, Nov 26, 1997 at 12:00 AM

One of the basic guidelines of improvisational comedy is known as "yes ... and," meaning that each performer must accept any information other performers provide (about relationships, locations, etc.) and then build on that foundation to move the scene forward (often by raising the stakes of the encounter). The...

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Alien Resurrection

Posted By on Wed, Nov 26, 1997 at 12:00 AM

A series such as the Alien films, with hordes of fans worldwide and much acclaim under its belt, has a lot to live up to when a new sequel hits the collective retina. So, with the release of Alien Resurrection, the fourth chapter in the Ripley saga, audiences should...

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John Grisham's The Rainmaker

Posted By on Wed, Nov 26, 1997 at 12:00 AM

From the outset, audiences will have very little reason to avoid Francis Ford Coppola's newest film, John Grisham's The Rainmaker. Boasting an acclaimed director and a humbly told American fave, the courtroom drama, as his device, it brings old and new favorites as its basic staples. Now triple that...

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Kiss or Kill

Posted By on Wed, Nov 26, 1997 at 12:00 AM

It's clear that Australian writer-director Bill Bennett sees Kiss or Kill as something more than standard criminal-lovers-on-the-run fare when he opens the film with a quote from Dylan Thomas' "Our Eunuch Dreams": "We watch the show of shadows kiss or kill, / Flavored of celluloid, give love the lie."...

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Wednesday, November 19, 1997

Drowning In Dreams

Posted By on Wed, Nov 19, 1997 at 12:00 AM

Sisyphus never managed to roll his stone to the top of the hill. Frank Broennle has never lifted his yacht from the bottom of Lake Superior, near Rossport, Ontario. Actually, the Gunilda belonged to someone else, an American tycoon who was too busy mixing martinis on the fantail one...

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One Night Stand

Posted By on Wed, Nov 19, 1997 at 12:00 AM

Infidelity is a chance encounter between vulnerable parties, asserts director Mike Figgis in his latest feature, One Night Stand. The free-floating ethos of that concept is actually the thematic base to this, the follow-up to Figgis' controversial Leaving Las Vegas. As with his other works, Figgis pulls out the...

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Hollow Reed

Posted By on Wed, Nov 19, 1997 at 12:00 AM

British director Angela Pope's Hollow Reed plays like a TV movie-of-the-week, lightly glossed with the greater explicitness that cinema allows. It has that dour genre's rather neatly delineated good guys and bad guys, a serviceable naturalism that creeps along between emotional outbursts and a triumphant, if unconvincing, denouement. The...

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The Jackal

Posted By on Wed, Nov 19, 1997 at 12:00 AM

How perplexing. One would think that with the world full of interesting little pockets of geopolitical skulduggery, makers of thrillers would have plenty of options for nasty characters doing nasty things. Alas, not so. Like lemmings over a cliff, producers have flocked to the Russian Mafia as the most...

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Critical Care

Posted By on Wed, Nov 19, 1997 at 12:00 AM

It's no coincidence that the high-tech intensive care unit in Critical Care's state-of-the-art hospital looks like a futuristic space module. With this black comedy, director Sidney Lumet (Network, The Verdict, Serpico) proposes that the future of medical care is here and God help us all. Second-year resident Dr. Werner...

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Wednesday, November 12, 1997

Mad City

Posted By on Wed, Nov 12, 1997 at 12:00 AM

In our infinite quest to turn the English language into a subliterate mess, we have added the word "stalkarazzi" in honor of those daring young men with their cameras who allegedly sent Di and her Dodi off into jet-set oblivion. Fingers were pointed as the tears and Elton John...

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