December 12, 1998
November 11, 1998
Of Freaks And Men (1998) *****
Dinara Drukarova is a Russian actress who appeared in films like "Freeze-Die-Come To Life" (1990) and "Since Otar Left" (2003), but her most memorable role was as an innocent rich girl forced to appear in pornographic films in "Of Freaks and Men" (1998), one of the best Russian movies of the last decade. Poor Dinara has to strip naked, kneel on all fours and be whipped by an old lady, while being filmed and watched by perverts. A blind woman, played by Anzhelika Nevolina, is also forced to undress and be whipped. Those torrid scenes are as arousing as they are fascinating, showing those previously prim and proper bourgeois ladies being humiliated, and their tender little asses being struck by whips. This masterpiece of perversity was directed by Aleksei Balabanov. But ''Of Freaks And Men'' isn't just a perverse film. It's a hauntingly beautiful allegory about Communism. The perverts, gradually taking over the lives of two bourgeois families, clearly represent the Bolsheviks, and their rape and the humiliation of the old Russia.
The Big Hit (1998) *****
The Longest Nite (1998) *****
October 10, 1998
Kite (1998) ****
Out Of Sight (1998) ****
Lola Rennt (1998) ****
Hurlyburly (1998) ****
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The Truman Show (1998) ****
The Opposite Of Sex (1998) ****
Screamingly funny black comedy about an evil 16-year-old girl (Christina Ricci) ruining the life of her saintly (and gay) half-brother (Martin Donovan). Lisa Kudrow steals the movie with her exceptional supporting performance as a cynical spinster.
Life Is Beautiful (1998) ****
The Hole (1998) ****
Black Cat White Cat (1998) ****
Directed by Emir Kusturica. With Branka Katic, Florijan Ajdini and Adnan Bekir. A surrealistic, flamboyant black comedy about crazy Serb Gypsies living on the Danube river. It's a full-blown attack on all accepted norms of propriety and decorum, frenetically paced, absolutely hilarious, wildly sensuous and totally wacky. It offers wild goose chases, shotgun weddings, runaway brides, double-crossing gangsters and non-stop Gypsy music. Kusturica has an uncanny ability to expose the most repulsive, vulgar and disgusting side of humanity, and then...transform it into the most sublime poetry.
A Bug's Life (1998) ****
It could be described as a computer-animated remake of Akira Kurosawa's "The Seven Samurai", except that here, the brave defenders of the poor peasants happen to be flea circus clowns. Compared with "Antz", this Disney/Pixar co-production is more action-packed, has better animation and more advanced digital effects, but it's certainly not as clever or witty (except for truly hilarious fake bloopers during the closing credits).
Dangerous Beauty (1998) ****
"Dangerous Beauty" is one of the most fascinating historical dramas to come out of Hollywood in recent years. Directed by Marshall Herskovitz ("thirtysomething"), it tells the life story of Veronica Franco, the famous 17th century Venetian courtesan, poet and proto-feminist. Whether making love, reciting poetry, standing up to an Inquisition tribunal or analyzing the strategic importance of Cyprus in the war against the Turks, Veronica (magnificently played by Catherine McCormack) mesmerizes Venetian nobles (and the film's viewers) with her wit, intelligence and beauty. The film is a celebration of her erudition and cleverness.
September 9, 1998
Strike (1998) ***
Horny, disgusting creatures called boys are about to invade a private boarding school for girls. However, its pubescent residents are determined to defend this last bastion of matriarchal power and influence. Very much like "Clueless", this is a smart, effervescent comedy about sexy teenage vixens who are smarter than they look.
Spice World (1998) ***
A hip, entertaining musical about five gorgeous airheads who took the world by storm and set feminism back by at least a decade. Those sassy, brash and cheerful vixens mingle with celebrities, encounter fans from outer space, fight with their anal-retentive manager (Richard E.Grant), drive around London in a Spicebus and prepare for a live concert at Albert Hall. Only Victoria (Posh Spice) can actually act, but all girls deserve credit for being such good sports and making fun of themselves with such gleeful abandon.
The Spanish Prisoner (1998) ***
Very well acted, quite absorbing little mystery movie. The plot twists could have been more ingenious, but the dialogue is memorably unsettling and irritating.
A Soldier's Daughter Never Cries (1998) ***
Based on an autobiographical novel by Kaylie Jones (daughter of author James Jones), this is a warm and sensitive film about a young American girl growing up in Paris. Her relationships with her adopted brother and her dying father are explored with unusual subtlety and psychological insight. A small, quiet gem of a movie, closer in spirit to director James Ivory's "Mr And Mrs Bridge" than to his famous British Heritage pix.
The Decline Of Western Civilization. Part III (1998) ***
Great documentary about the punk rock culture.
Mulan (1998) ***
A young girl saves China from evil foreign invaders. The Mouse House tries hard to placate Beijing (still angry about Kundun) with this spectacular, politically-correct, very pro-Chinese historical epic. The animation is superb (as always), but this film is different from previous Disney pix. There is some comedy (Murphy's hyper dragon is hilarious), but almost no romance or the usual "spunky-girl-with-an-attitude" antics. Instead, we get a "Shaolin Yentl" and that's meant to be a compliment. Directed by Barry Cook and Tony Bancroft, with voices of Eddie Murphy, Wen Ming-Na and Donny Osmond.
Rushmore (1998) ***
Bizarre black comedy about a 15-year-old student who falls in love with a teacher (Olivia Williams).
Men With Guns (1998) ***
The title refers to ruthless government soldiers and equally ruthless anti-government guerillas. Both groups make life miserable for poor, pacifistic peasants caught in the middle of their bloody conflict. This thoughtful, well-made film about civil war in Central America, bears unmistakable marks of its auteur - America's most humanistic and bleeding-heart-liberal filmmaker.
The Man In The Iron Mask (1998) ***
Athos, Porthos and Aramis are plotting to kidnap the King of France (DiCaprio) and replace him on the throne. It's an adaptation of an Alexandre Dumas' novel, but the original pro-monarchist message has been subverted and the film glorifies a rebellion against the tyranny of an evil ruler. The first half is quite slow, but the last hour consists of exciting cat-and-mouse chases through secret passages, dungeons and prison cells.
Love And Death In Long Island (1998) ***
A culture-clash comedy starring Jason Priestley and John Hurt.
Hitman (1998) ***
Jet Li stars in this very enjoyable, if somewhat ordinary, chop-socky actioner about a search for a mysterious killer.
Godzilla (1998) ***
It's basically a clone of "Jurassic Park" and "The Lost World" - same special effects and chases. This monster doesn't look anything like the old Godzilla we all know and love. It's simply a T-Rex, only much bigger. The first half of the film is quite boring, but the second hour offers non-stop action and great thrills.
The General (1998) ***
Wonderfully entertaining film about Martin Cahill, Ireland's most notorious thief.
Flowers Of Shanghai (1998) ***
Directed by Hou Hsia-Hsien. Shanghai's red-light district in the late 19th century. The action is set indoors, in splendidly decorated rooms, with candles and oil lamps bathing everything in warm hues of orange, red and yellow. The director is Hou Hsiao-Hsien, the Taiwanese master responsible for the brilliant "Good Men Good Women" (1995) and the visually impressive "Goodbye South Goodbye" (1996). Now, with "Flowers Of Shanghai", he opts for simplicity, telling a series of unsentimental stories about glamorous hookers and their rich clients. There are no sexual activities of any kind. In fact, the entire film consists of business-like conversations about inflated prices, exclusivity contracts, marriage promises and expensive gifts. Like an Oriental Frederic Wiseman, Hou uncovers the inner-workings of an institution, and the results are fascinating.
Fear And Loathing In Las Vegas (1998) ***
Few films so perfectly capture the effects of drugs on people's minds. A constantly imaginative film from Terry Gilliam.
Drive (1998) ***
An absolutely terrific kung-fu/road movie with first-rate martial arts sequences and oddball humor. Particularly memorable is Brittany Murphy (in her first important film), playing a flirty and vivacious motel owner. There are two versions of this film. One is 100 min, the other is 118 min.
Le Diner de cons (1998) ***
Cube (1998) ***
Six people - a policeman, a math wiz, an authistic savant, a paranoid physician, a building contractor and a former convict - try to escape from a labyrinth of cubic spaces full of deadly traps. A memorable Canadian sci-fi adventure film, very well written, acted and directed.
Cousin Bette (1998) ***
Aa bitter old maid (Lange) prepares a terrible revenge against her family. This witty and sarcastic comedy of manners brilliantly exposes the moral decay of France in the last years of the reign of King Louis-Philippe. It belongs to the great French tradition of super-cynical morality fables, populated by spoiled young virgins, debauched men and scheming spinsters.
The Thin Red Line (1998) ***
An all-star cast, great battle scenes, superb camerawork, a need for tighter editing.
The Big One (1998) ***
Michael Moore's back to his old tricks, trying to meet CEOs of several companies he doesn't like.
Babe: Pig In The City (1998) ***
The greatest hog thespian since Porky Pig returns in this exciting sequel to the 1995 sleeper hit. This time, our porcine prodigy liberates a bunch of homeless mongrels, tomcats and chimps from a city pound run by heartless, furless and two-legged monsters called humans. Not as charming as the original, but far more spectacular in terms of special effects, art direction and production designs.
Antz (1998) ***
A little ant worker (Woody Allen) saves his colony from a disaster while wooing a fiery ant princess (Sharon Stone). A very nice computer-animated film from DreamWorks and Microsoft's CDI.
Quiconque meurt, meurt à douleur (1998) ***
You Can Thank Me Later (1998) ***
Directed by Shimon Dotan. With Ellen Burstyn, Genevieve Bujold and Amanda Plummer. Burstyn plays an overbearing Jewish mother, whose incessant criticism of her adult children reduces them to a state of near-infancy. The family conflicts finally explode during a tense wait in a hospital, awaiting the results of the father's surgery. Set in Montreal, it's a pitch-black comedy about a dysfunctional family, superbly written, badly directed, but very entertaining.
Wild Man Blues (1998) ***
Fascinating portrait of America's most notorious and unfairly maligned filmmaker, focusing on his May-December romance with the daughter of his former girlfriend. Made during Allen's tour of Europe with his band, the documentary mixes beautiful jazz music with hilarious dialogue. Best gag: Soon-Yi revealing her favourite movie.
Why Do Fools Fall In Love (1998) ***
Three gorgeous women (Halle Berry, Vivica A.Fox and Lela Rochon) all claim to be the widows of Frankie Lymon.
Conte d'automne (1998) ***
Directed by Eric Rohmer. With Marie Riviere, Beatrice Romand and Alain Libolt. A middle-aged woman becomes the victim of the matchmaking efforts by her friends. Set in the Rhone valley in southern France, it's the final installement in Rohmer's celebrated "Tales of Four Seasons" cycle. As usual, it's a delicious, irony-rich dialogue that carries the day. Subtle, perceptive and attentive to the slightest detail, Rohmer is to cinema what Monet is to painting - an impressionist master forever reworking the same themes and giving them slightly different shades of meaning.
Celebrity (1998) ***
A Woody Allen film, interesting mainly for Kenneth Branagh's dead-on imitation of Allen's patented mannerism.
Bulworth (1998) ***
A US senator from California goes beserk, hires a hitman to kill himself, insults his supporters and hides in South Central L.A. while a political storm is gathering. This slick political satire hits all the right targets, but it doesn't say anything new.
The Borrowers (1998) ***
Outstanding special effects enliven this fine film about little creatures living behind walls.
Blues Brothers 2000 (1998) ***
A sequel to the 1980 hit about a band of car-wrecking musicians. The film really comes to life during its fabulous musical numbers, featuring the very best of blues, soul, r&b and bluegrass. The non-musical segments suck, but they are few and far between. Great cameos from James Brown, Aretha Franklin, BB King and others.
Revoir Julie (1998) ***
This unpretentious little film about two young women renewing their friendship might well be the best Quebec pic of the year. It's off-beat, quirky, low-key, subtle and de-dramatized in the best Eric Rohmer tradition. Both actresses, and particularly Morgenstern, are superlative. A genuine, unexpected sleeper, exploring the theme of suppressed sexual desire in a totally original way.
Primary Colors (1998) ***
A well-acted, expertly-written political comedy about Bill Clinton's 1992 presidential campaign. He's presented as an ambitious, womanizing and ruthless politician, who shamelessly uses his personal charm to seduce and manipulate everyone around him. But all those flaws only make him more endearing and sympathetic. The film is a jig-saw puzzle that rearranges the real people and actual events from the campaign, and dares us to identify them.
Pippi Longstocking (1998) ***
There are plenty of catchy tunes in this animated film about a vivacious redhead tomboy. A fashion victim, Pippi is a spunky little brat who lives alone with a horse and a monkey. This is a perfect film for those who can show how old they are without taking off their shoes. Songs:
"What Shall I Do Today" **
"Hey-Ho, I'M Pippi" ***
"Recipe For Life" **
"A Bowler And A New Gold Tooth" *
"Pluttifikation" *
"What Shall I Do Today" **
"Hey-Ho, I'M Pippi" ***
"Recipe For Life" **
"A Bowler And A New Gold Tooth" *
"Pluttifikation" *
The Parent Trap (1998) ***
This is a very rare case of a remake being exactly as good as the original. The story premise - twin sisters separated in infancy, never told about each other by their parents, accidently meeting after 11 years - might seem weird. But we have to remember it's based on an Erich Kastner novel written in... Nazi Germany. Family values were obviously quite different back then.
No (1998) ***
A modest little comedy about the October crisis in 1970. The plot revolves around a young actress from Montreal appearing in a sex farce being staged during Expo 70 in Osaka. Meanwhile, back in Quebec, her boyfriend finds himself consorting with a bunch of FLQ terrorists who use his appartment to test their newest bomb. Randomly mixing comic and tragic events, it's a tentative, often subtle, and occassionally awkward exploration of Quebec's identity problem.
My Name Is Joe (1998) ***
August 8, 1998
Mauvais genre (1998) **
Romantic misadventures of a young Parisian writer. One of those French films where the hero lives with one woman, chases after another, sleeps with a third and hides under the bed of a fourth. Occasionally entertaining, but mostly just plain weird.
Marie Baie des Anges (1998) **
Erotic adventures of a beautiful adolescent girl on the French Riviera.
La Femme assassin (1998) *
Bizarre black comedy about a female terrorist who shoots her teammate instead of a target, and is forced to hide from cops. At first, the plot seems incoherent. Gradually, everything falls into place narratively, through the characters' motivations and modus operendi remain as baffling as ever.
En plein coeur (1998) *
Directed by Pierre Jolivet. With Virginie Ledoyen, Carole Bouquet et Gerard Lanvin. What happens when a sexy-young-girl-in-trouble (Ledoyen) meets a horny-middle-aged-lawyer (Lanvin)? He tells her to get out of his office, that's what. But what happens when she tries to lift her skirt? Ah, then he falls hopelessly in love with her and unceremoniously dumps his beautiful wife (Bouquet). Watching such films one could get an impression that all French women spend their youth as mistresses and their mature years as cheated wives.
L'Ecole de la chair (1998) *
Boring pic about an older woman (Isabelle Huppert) falling in love with a young gigolo.
L'Homme est une femme comme les autres (1998) *
Under this non sequitur title hides a fairly ordinary, tender film about a gay man who marries a woman in order to get ten million franks from his homophobic uncle. But he falls in love with his wife and serious complications ensue.
Hasards ou coincidences (1998) *
Words can hardly describe the utter worthlessness and the painful wretchedness of this monumental disaster. The incoherent plot involves an Italian ballet dancer (Martines), her brief affair with a painter (Arditi), and her encounters with hockey players in Montreal, polar bears in Churchill, Manitoba, and divers in Acapulco. Actors appear bored and indifferent, as if waiting for the director to return to the set.
Paris (1998) **
Un réalisateur décide de faire un film à Paris. Il cherche son héroïne et s'adjoint les services d'une jeune professionnelle du casting. Ils rencontreront des jeunes comédiennes ou des jeunes femmes, respirant l'air du temps.
A French film director interviews several young girls for his documentary. Directed by Raymond Depardon.
A French film director interviews several young girls for his documentary. Directed by Raymond Depardon.
L'Age de braise (1998) *
A middle-age woman (Girardot), who spent most of her life in Africa as a humanitarian aid worker, re-examines her values and commitments. Interesting subject, fascinating characters, boring film. It's slow, ponderous and full of pointless symbolism.
Les Visiteurs 2: Les Couloirs du temps (1998) *
A knight (Reno) and his servant (Clavier) are time travelling again, trying to find some missing jewels. This sequel is bad. The pacing is too fast; gags are repetitive and dumb.
Sitcom (1998) **
Under the influence of a little lab rat, a middle-class family sinks into debauchery and perversity. A sequel of sorts to Marina De Van's short gem "Bien sous tous rapports" (1996). Unfortunately, its mix of misantropy, dadaism and depravity doesn't quite work in a feature-length format. After a while, the shock value wears off, and we're left with an empty shell of a movie.
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