thursday october 2 Dinosaur Domain: One good thing about having plunked down $6.50 to see The Lost World–among the silliest Steven Spielberg movies ever–is that it sent us back to a video of Jurassic Park to appreciate the first movie’s thrills all the more. Hoping to capitalize on the mega-success…
Kevin Corrigan doesn’t act as much as he seems to stumble from scene to scene, like a guy who doesn’t follow a script as much as his own internal stage directions. He’s got skin so pale it’s almost translucent, and he wears the face of a guy who’s always this…
The Peacemaker is the first feature from DreamWorks Pictures, the studio headed by Steven Spielberg, Jeffrey Katzenberg, and David Geffen. It stars George Clooney and Nicole Kidman, and it’s about terrorists who steal Russian nukes. As an intelligence officer with the U.S. Army’s Special Forces, Clooney gets to model his…
thursday september 25 Jane Siberry: If you missed last week’s music feature on Canadian singer-songwriter-producer-instrumentalist Jane Siberry, here’s one last plug to get you out to see this wondrous musician tonight. She’s only played in the North Texas area once before–10 years ago at Lizard Lounge, when it was called…
The 1950s-era Los Angeles of L.A. Confidential is Noir Central. Its denizens are tattooed in shadow; the play of light and dark–in the streets, the police stations, the morgues–is fetishistic. The postwar L.A. touted in the travelogues and billboards is a boomtown, but what we actually see is unsettling: a…
Every film adaptation of a preexisting work has its own unique set of problems; in the case of director Jocelyn Moorhouse’s A Thousand Acres, the problem is compounded. Not only was Jane Smiley’s 1991 novel a Pulitzer Prize-winning bestseller with a large number of (presumably) devoted fans, but the book…
Howard and Emily’s marriage is the talk of Greenleaf, Indiana, a small town idyllic enough to repel Norman Rockwell. The town has waited three years for the couple to make it official–and slimmed-down Emily (Joan Cusack) has waited three long years for Howard (Kevin Kline) to consummate their relationship. She’s…
thursday september 18 Ocho Pintores Mexicanos: The swank Ivanffy & Uhler Gallery usually specializes in 20th-century European visual art, but their fall 1997 season opens with a show of prominent contemporary Mexican artists. Ocho Pintores Mexicanos, or “Eight Mexican Painters” to us gringos, features more than 70 works in silk…
friday september 12 2nd Annual Celebrity Garage Sale: America loves famous people, to the point that even the stuff celebrities throw out has a nimbus of glamorous mystery. Operating on the theory that a Dallas Cowboy’s roll of gauze is innately more valuable than yours or mine, Aardvark Studios in…
Not knowing a lick of French beyond a few pretentious little Continental phrases such as joie de vivre, I have no idea if Moliere’s original script of his sex farce Amphitryon is rote and lethargic, or if celebrated poet Richard Wilbur’s translation is the problem. Having read (though never seen…
Bernardo Bertolucci once dubbed Los Angeles the Big Nipple. Writer-director Curtis Hanson has been suckling at it all his life. Just how much nourishment he’s drawn becomes clear in his terrific new L.A. film, L.A. Confidential. Now 52, Hanson has been a talent for critics to dead-reckon with for 20…
Tomas Gutierrez Alea’s final film, Guantanamera, shares a tone of wistful romanticism with the late Cuban director’s Letters From the Park (a sweetly lyrical film based on the Gabriel Garcia Marquez story about a man who ghostwrites love letters) and Strawberry and Chocolate. Like a Garcia Marquez novel, Guantanamera plays…
The Game is a puzzle picture, and beyond its premise there isn’t much you can divulge without giving the show away. I’m not one of those critics who like to write Stop reading now if you plan to see this movie, so I’m tempted to wrap things up right now…
Having seen two performances of My Head Was a Sledgehammer, the debut by Our Endeavors Productions of Richard Foreman’s scattered stream-of-consciousness script, I’m sure of only two things: This show is fast-paced and pleasurable, and it means absolutely nothing. You might disagree on either or both counts. That’s the beauty…
Film critics rank just ahead of television meteorologists as the worst roadside psychics in the media: We make all kinds of predictions about a movie’s box office impact and Oscar-friendliness, and even anticipate whether said flick will be a beloved classic 25 years from now. Just like when weighing the…
Somewhere in the meat-packing district in downtown Manhattan, behind a nondescript door in an unremarkable building, about 100,000 reels of film sit in stacks on 12-foot-high metal shelves, and in less orderly piles on the concrete floor. The titles taped to the sides of each canister–The Honey Industry, Resistance Welding,…
Welcome to one of the slowest film weekends of the year, second only to the first week in January, when all the classy holiday releases are clogging up the available screens. This is usually when distributors put out their saddest mistakes, looking for a few quick bucks on the way…
thursday september 4 Dancing at Lughnasa: Previously produced in Dallas by the Dallas Theater Center, Brian Friel’s ecstatically lauded family dramedy, Dancing at Lughnasa, gets another production by Fort Worth’s stellar Stage West ensemble. This’ll probably be your last chance to see Friel’s story of five unmarried sisters barely surviving…
It’s tempting (and just a little bit cheap) to read all kinds of incestuous undertones in Paula Vogel’s poignant, occasionally acidic, three-actor comedy, The Baltimore Waltz, not the least because Vogel’s newest Off-Broadway hit, How I Learned to Drive, has offended some in the New York theater community. That emotionally…
Mike Leigh’s new film, Career Girls, is compact and minor. I don’t mean that as a slam exactly. After the dawdling expansiveness of last year’s Secrets & Lies, his latest one is something of a relaxation–it’s appealingly small-scale. Leigh isn’t doing anything here he hasn’t done better before, but at…
Texas Chainsaw Massacre: The Next Generation–a goofy remake of the 1974 scare, uh, classic–is a film so worthless that the admission ought to come with a $7.50 rebate coupon. In retrospect, the original Texas Chainsaw Massacre seems kind of quaint, its blood-red faded with the passage of time. When it…
If you’re nostalgic for the cockeyed let-it-all-out gabfests of the late John Cassavetes, She’s So Lovely will seem like dejà vu all over again. Cassavetes wrote the script more than a decade ago, and now his son Nick–whose first feature, Unhook the Stars, starred his mother, Gena Rowlands–has directed it…
