American Hustle
The film begins when the protagonist, Irving, makes a bold statement: he will not be like his father when he grows up. Clearly coming from an immigrant family, Irving sees that it is the con men who rule his neighborhood. Of course, making such a monumental life decision at the age of 10 doesn’t
Read more.
The Trip
In what is now common-faire, satirical narratives involving the daily lives of successful actors attempt to take the mundane luxury and find absurd. It is quite an easy thing to do, as the inhabitants of their universe mock the self-righteous decorum which they do not belong in, yet merely savor. The pairing of these
Read more.
American Psycho
American Psycho wonderfully satirizes the world of Masters of the Universe – investment bankers who feel omnipotent by being able to get “rez”s at Darcia on moment’s notice. It is a good thing that this film was adapted and written by two women. They take their keen eye toward status and social conformity and
Read more.
Pete Smalls is Dead
This is simply an eclectic disarray. It does not know exactly what to be, other than an attempt at irreverence, which misses. However, failure in itself still has meaning, in demonstrating the newfound viability for film making. This clearly is a script which would not pass the benchmark for most studios. They are in
Read more.
MONA LISA
Mona Lisa challenges the audience to see the under-world of London as having a personality. That personality is front-and-center with George, an ex-con (or whatever a convict equivalent is on that island – I am too uncultured to know), who takes us through a voyage of the black market of sex. Is it any
Read more.
REVOLVER
Swirling in the vortex of another male sophomore production, Revolver encapsulates – or at least tries to – sentimental verve. In that, the bloodshed and outlandish machismo actually serves a purpose beyond scintillating teenage boys. Masterfully, Mr. Ritchie does not reveal his hand until the closing credits. He is indeed attempting to ‘con’
Read more.