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Stiller Finally Gets His Breakout Comic Role: "Zoolander," "Joy Ride," and "Serendipity" PDF Print E-mail
Movies - Reviews
Written by Mike Schulz   
Tuesday, 09 October 2001 18:00

Ben Stiller in ZoolanderZOOLANDER

Those of us who’ve been waiting, in film after film, for Ben Stiller to hit the comedic peaks he reached on his short-lived TV series The Ben Stiller Show might find Zoolander pretty irresistible.

 
A Sinking Heart Over "Atlantis": "Hearts in Atlantis" and "Don't Say a Word" PDF Print E-mail
Movies - Reviews
Written by Mike Schulz   
Tuesday, 02 October 2001 18:00

Anton Yelchin and Hope Davis in Hearts in AtlantisHEARTS IN ATLANTIS

Given current events, are audiences now so hungry for nostalgic, nonthreatening entertainment that they’ll happily accept something as profoundly awful as Hearts in Atlantis? If so, you certainly can’t blame them, but Lord knows they deserve better than this mawkish Stephen King adaptation, a gooey and incoherent fable that gets more maddening as it progresses. I have friends who swear by the greatness of King’s novel (unread by me), but the film version comes off as a mixture of the feyest aspects of the mostly terrific Stand by Me (based on King’s novella The Body) and the metaphysical hokiness of King’s The Green Mile. It proves to be a nearly unbearable combination, and yet something tells me that this wimpy, unfocused film could turn into a big hit among those who believe, as its author apparently does, that America died right about the time King turned 13.

 
The Season’s Best Movies Might Be at the Video Store: "Startup.com," "Wit,"and "61*" PDF Print E-mail
Movies - Reviews
Written by Mike Schulz   
Tuesday, 25 September 2001 18:00

Kaleil Isaza Tuzman and Tom Herman in Startup.comSTARTUP.COM, WIT, and 61*

I had the good fortune to view three sensational 2001 releases last week, but as you might imagine, none of them is playing at your local movie theatre. The Warner Bros. and Touchstone studios showed welcome tact by delaying the premieres of Training Day and Big Trouble, initially scheduled for release on September 21, in light of the tragic events of September 11; apparently, both films feature subplots that, in our current national climate, might be inappropriate for mass consumption. (One of the plotlines in Big Trouble, for example, deals with the impending detonation of a nuclear device.) Good for Hollywood, I say, and I hope they feel free to forever shelve any movie where explosions could legitimately be billed as featured characters. Will any of us feel the desire to watch the destructive, slow-motion set-pieces in something like Die Hard or Independence Day ever again? Should we ever have wanted to in the first place?

 
In Praise of Guilty Pleasures: "The Glass House," "Hardball," and "Two Can Play That Game" PDF Print E-mail
Movies - Reviews
Written by Mike Schulz   
Tuesday, 18 September 2001 18:00

Leelee Sobieski in The Glass HouseTHE GLASS HOUSE

The domestic thriller The Glass House is obvious and over-the-top from the word go, and that’s what I liked about it. It takes true chutzpah to pull off a movie with visuals this baroque and plotting this convoluted; it might be the most trashily enjoyable work of its kind since 1997’s The Devil’s Advocate. Like that Al Pacino craptacular, The Glass House has no higher agenda than showing audiences, in horror-flick form, the luridness behind ultra-rich “perfection,” and it’s so up-front about its limited ambitions, and so earnestly performed by its top-tier cast, that you can easily lean back and enjoy it for the stylish dreck it is. Is it a good movie? Nah. An entertaining one? Hell, yes.

 
Hollywood Marketing Triumphs with Two Bad Movies: "Rock Star" and "The Musketeer" PDF Print E-mail
Movies - Reviews
Written by Mike Schulz   
Tuesday, 11 September 2001 18:00

Jennifer Aniston and Mark Wahlberg in Rock StarROCK STAR and THE MUSKETEER

If you were to guess based solely on their previews, you’d probably imagine Stephen Herek’s Rock Star to be a kitschy, affectionate look at heavy metal in the ‘80s – like This Is Spinal Tap played straight – and Peter Hyams’ The Musketeer to be a brisk reinterpretation of the Alexandre Dumas classic with a martial-arts bent – Crouching Tiger, Hidden D’Artagnan.

 
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