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The Dangerous Lives of Altar Boys
(2002) |
7 /10 |
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Moving drama
with bits of humor set in
Virgin Suicides-esk
depiction of 1970's. Young cast puts forth strong performances with yet
another Culkin showing talent. Animated sequences aren't as effective as they
could be and Jena Malone, while good, is starting to typecast herself.
[English, 141min,
PG-13] |
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Danny Boy
(2002) |
7 /10 |
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17 year old Colin Bannon
again demonstrates technical skill far beyond his years, surpassing
limitations of digital video with impressive "film-like" shooting and
editing. Ambitiously mature narrative (about cryptic childhood nightmares)
loses focus from time to time, short changing it's intriguing ideas, though
climactic revelation still packs emotional punch. Bannon will truly excel
when his writing is on par with level of craftsmanship.
[English, 23min, NR] |
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Daredevil
(2003) |
3.5
/10 |
|
Darkest comic book
adaptation since Batman suffers from a monumental casting disaster (Farrell
as Bullseye is "you’ve got to be f-ing kidding me" ridiculous), a "wannabe-Spiderman"
origination story, and dialogue bad enough to rival Episode II. Gets points
for a blind, pill popping superhero and wisecrackin’ Jon Favreau, but
grounded approach is futile when characters randomly defy physics. Works
best during an early bar room fight.
[English,
103min, PG-13] |
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Dead Man
(1995) |
7
/10 |
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Sets up premise with
strange energy, then shapes into a slow, somewhat aimless tale
accented by graphic violence. Depp and cameos only can
do so much. Always interesting (with a moody sparse guitar score by Neil
Young), just not enough payoff.
[English, 121min, R] |
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Deep Cover (1992) |
7
/10 |
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Dark
morality tale with Fishburne strong as undercover cop
who crosses over to the criminal world. Jeff Goldblum is atr his
quirky best as a sleazy lawyer who utters
one of the silliest lines in recent film history (with a straight
face): "I
want my cake and eat it too. I want my cake and eat it too." Now that
makes it worth a watch alone.
[English,
113min, R] |
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The Deep End
(2001) |
8 /10 |
|
Extremely well shot
film noir-ish story of a mother willing to do almost anything to hide a murder
that involved her son...who also happens to be a closet gay. Plot twists around
conventions often and Tilda Swinton is impressive, but never emotionally
engages. [English,
101min, R] |
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Delicatessen
(1991) |
8.5 /10 |
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Years before
the stunning
Amélie,
Jenut made his feature length debut with this remarkably original, surreal
dark comedy. Dominique Pinon leads wholly eccentric cast as
quirky’n’charming ex-circus star taking refuge in an apartment of
situational cannibals during post-apocalyptic future (!). Whether it’s
elaborately staged suicide attempts, a bed-squeak induced music number, or
the intricately woven mayhem of finale, every scene thrives on pure
imagination.
[French,
99min, R] |
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Diabolique (1955) |
8 /10 |
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Slow burning
thriller has passive wife seeking revenge against abusive husband with
help from his no nonsense mistress. Strong suspense in first half as
both women plan and commit murder, only to have the body vanish. Rest
of film is an increasingly tense journey, as the wife, played to great
paranoid effect by Véra Clouzot, tries to uncover the
truth. Last revelation is a shocker, especially considering it’s time, and
imitated countless times since. [French,
114min, NR] |
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Die Another Day (2002) |
7.5 /10 |
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20th in Bond franchise
is most entertaining since GoldenEye, adding an edgier, more serious
tone to the mix. Exciting, high powered opening refreshingly ends on a bad note
for 007, in the process creating a uniquely scarred villain. Plot has Brosnan on
renegade revenge mission which leads to a number of solid action sequences,
notably an inspired sword duel at halfway mark. Halle Berry's presence however,
is unremarkable, along with her highly publicized sex scene.
[English,
133min, PG-13] |
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Die Hard
(1988) |
8 /10 |
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A on the
verge of stardom Bruce Willis tears through one liners AND terrorists
in
this
explosive (pun intended) pre-CGI invested 80's action movie that almost
single-handedly defined the genre for a decade (along with it's
sequels). Alan Rickman chews scenery as German hostage-taker
mastermind and all around bad man.
A pre-Family Matters Reginald
VelJohnson has entertaining rapport with Willis throughout movie.
[English, 131min,
R] |
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Die Hard 2 (1990) |
8 /10 |
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Exciting, over-the-top sequel to the groundbreaking action original
features plenty of cool action pieces and fun self aware humor,
although the underdeveloped villain, blandly played by William
Sadler's, leaves more to be desired. Contains a rather horrific
tragedy half way in that is especially disturbing in post-911 world,
and for same reason would be taboo today.
[English, 124min, R] |
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Die Hard With A Vengeance (1995) |
7 /10 |
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Often
incredible action sequences in NYC strung together by paper thin plot.
Not as much memorable dialogue as past outings, but Willis and Jackson
make a strong team on this energetic thrill ride nicely capping off
one of film's best action franchises. Jeremy Irons is a huge
improvement in the villain department,
playing the brother of first movie's terrorist. [English,
131min, R] |
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Dogtown and Z-Boys (2001) |
7 /10 |
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Hyper-energetic documentary on birth of present day skateboarding is
entertaining and informative but at times too self congratulatory.
Leaves
giant gap after 70's, only briefly summarizing what followed. Narrated
by unlikely choice of Sean Penn, that may be first actor who's cough
remained in a voice over. [English,
91min, PG-13] |
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Dolores Claiborne
(1995) |
7.5 /10 |
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One of Stephen King's best movie adaptations along side The
Shawshank Redemption, The Green Mile, and Stand By Me,
although it severely alters the book's narrative structure to lesser
effect. Jarring use of stylistic flashbacks tightly weave past and
present of story and eclipse sequence is interestingly presented, but
loses steam in final scenes.
[English,
132min, R] |
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Don't
Look Now
(1973) |
8 /10 |
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Director Nicolas Roeg's creepy hypnotic thriller is reminiscent of
The Wicker Man in its slow burning dread and sinister, cryptic
plot. Opens with tragic drowning of couple's daughter, phenomenally
edited through intercut matched action, a technique used to
brilliant effect during the film's much lauded love scene. Donald
Sutherland, as unraveling father, carries story though lapses in
logic, leading to a shocking conclusion (albeit slightly
unsatisfying). Water logged labyrinth of Venice is utilized well.
[English,
110min, R] |
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The Doors
(1991) |
7 /10 |
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First half is absolutely mesmerizing, feeling like an extended 60's
drug trip, with good scenes of band's formation. Then movie is
consumed by 'rise & fall' syndrome of Morrison's life, not unlike any
other self-destructing drug binge. Val Kilmer gives stunning
performance, merging his own voice with original music during power
concert sequences (Academy was blind not to nominate him). [English,
140min, R] |
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Do the Right Thing
(1989) |
7.5 /10 |
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First three
quarters do exceptional job of establishing hot summer city day with
views from all nationalities on racism. Story then turns serious,
implausible, and finally unclear in it's overall message as it
attempts to make broader statement on racial perspectives (a common
problem with Spike Lee).
[English,
120min, R] |
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Double Indemnity
(1944) |
9 /10 |
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Hugely
influential and entertaining film noir with such modern minded
dialogue it rarely feels dated (aside from 1940’s technology). Fred MacMurray plays
ultimate everyday guy, seduced by a femme fatal into committing murder for
insurance money. Scenes grow increasingly tense as near perfect crime unravels
and true character motivations surface, leading to a powerful, dark climax.
Effectively updated as 1981’s steamy Body Heat.
[English,
107min, NR] |
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Double Take
(2001) |
3 /10 |
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Double misfire. Orlando Jones is better than this pathetic attempt at
a comedy, or movie for that matter, in which he plays a Wall Street
player who must trade identities with a street hustler (Griffin, in
overly-obnoxious mode) after being framed for assassinating a
Mexican governor and blah, blah, blah...don't waste your time.
[English,
88min, PG-13] |
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Dragonfly
(2002) |
4 /10 |
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Dud of a thriller for Kevin Costner who holds title for "most
consistent bad actor" in Hollywood. Blatantly obvious "clues" to
unlocking plot insult intelligence;
forced dialogue and jumpy pacing don't help matters. A Dancing With
Wolves sequel must be looking pretty good about now.
[English,
104min, PG-13] |
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Dreamcatcher
(2003) |
1.5 /10 |
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Astronomically disastrous
book adaptation tosses watered down versions of Stand By Me and
Alien into a blender, switch set on "obliterate." Focus of King's novel
on unique bond among life long friends is traded for rehashed sci-fi gore.
Ironically, onset of incoherence begins after the film’s most memorable
characters are killed off (including a perfectly cast Jason Lee). Only a
handful of minor scenes make worthy translation to big screen.
[English,
134min, R] |
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Dressed To Kill
(1980) |
6.5 /10 |
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De Palma
begins this as a sexy, intriguing thriller revolving around a
sex-starved housewife (Angie Dickinson plus body double) and a
transsexual serial killer, while blatantly ripping off Hitchcock in
the process. Plot gets progressively more outlandish, not knowing when
to call it quits. If judged solely on camera-work, however, this would get a near
perfect score.
[English,
104, R] |
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Drumline
(2002) |
5 /10 |
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Unique
concept of competitive African American marching bands fails to
disguise highly formulaic "feel-good" plot relying on Rocky-style clichés and
predictably resolvable conflicts. Closing college band face-off
features an amazing display of musicianship, though failure to established
rules cheapens outcome. Orlando Jones surprises with successful dramatic
turn, overshadowing Nick Cannon's arrogant prodigal drummer.
[English,
118min, PG-13] |
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Duck Soup
(1933) |
5 /10 |
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First
exposure to Marx Bros. is this disappointing war parody. Brand of
humor is grating, especially Harpo who is as aggravating as a
4 year old with A.D.D. Groucho Marx shoots out disconnected one liners like
there's no tomorrow, sometimes hitting, many times just annoying. Best aspects
are over-the-top music numbers (as in Mel Brook's early work) and classic,
much imitated mirror sequence.
Dr. Strangelove
commented on similar subject with
much more laughs.
[English,
68min, NR] |
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Dude, Where's My Car?
(2000) |
2 /10 |
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Dude, where was my mind when I watched this movie? A plot so
disconnected that half way in I noticed my disc skipped about three
chapters worth of scenes ONLY because the movie was ending 20 minutes
too early. I'd be hard pressed to find another movie I'd make the same
error with. A group of stoned high schoolers could probably concoct a
more clever script. Bottom line: if THIS can be made in Hollywood,
ANYTHING can.
[English,
83min, PG-13] |
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