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A Rocket Lands in the District PDF Print E-mail
Feature Stories
Written by Mike Schulz   
Tuesday, 10 May 2005 18:00
When it was announced that the Brew & View’s Devin Hansen, this spring, would open a similar theater, The Rocket, in the District of Rock Island’s long-defunct Capri Cinema, the reaction of Brew & View regulars was generally twofold: an emphatic “Hooray!” followed by a quick “Huh?” After all, the Capri stands not four blocks from the Brew & View, and one such venue in the District was already more than film fans should have hoped for.

 
"Hitchhiker’s Guide" a Free-Wheeling Joy: "The Hitchhiker's Guide to the Galaxy," "King's Ransom," and "A Lot Like Love" PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 03 May 2005 18:00

Mos Def and Martin Freeman in The Hitchhiker's Guide to the GalaxyTHE HITCHHIKER'S GUIDE TO THE GALAXY

The Hitchhiker’s Guide to the Galaxy is something unusual: a movie wherein everyone involved appears to be having a good time. Of course, you could say the same about Cannonball Run or Ocean’s Twelve, but the difference here is that the audience is allowed to have a good time, too. Based on Douglas Adams’ cheeky, beloved sci-fi novel, Hitchhiker’s Guide, which has been in various stages of film development for the better part of two decades, is a goofy, oftentimes glorious mess of a movie. If George Lucas and the Monty Python troupe ever spawned, the results would look something like this; I started smiling during the film’s opening credits and only stopped to occasionally laugh out loud.

 
"The Interpreter" a Thriller in Intent Only: Also, "Born Into Brothels," "The Amityville Horror," and "Kung Fu Hustle" PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 26 April 2005 18:00

Sean Penn and Nicole Kidman in The InterpreterTHE INTERPRETER

Why do Sydney Pollack’s movies so rarely have the snap and directness of his acting? Pollack doesn’t appear onscreen nearly enough, and when he does, it’s usually only for a scene or two. (His intellectual lout in Husbands & Wives was a rare, marvelous exception.) But these extended cameos – in Tootsie (which he also directed), Death Becomes Her, and Changing Lanes, especially – show Pollack the Actor to be a quick-witted utility player with focus and drive; without the slightest apparent effort, he can steal scenes from Dustin Hoffman or Tom Cruise, and any movie he’s in gains in intensity and sharpness when he’s around. Pollack the Director is another matter entirely. In the years since 1982’s Tootsie, he has churned out one logy, shapeless, middlebrow time-waster after another: Havana, The Firm, Sabrina, Random Hearts … they all wear their “prestige” on their sleeves, mistake inertia for depth, and are painfully overlong. (It’s the Out of Africa Syndrome.)

 
Everything About "Sahara" a Beige Bore: Also, "Bride & Prejudice" and "Bad Education" PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 19 April 2005 18:00

Penelope Cruz and Matthew McConaughey in SaharaSAHARA

I was probably predisposed to dislike Saraha because of my natural aversion to Sand Movies – seeing that much beige and ochre onscreen generally puts me to sleep within five minutes – but the problems with this action-adventure don’t stop with its lack of a distinctive color palette; nearly everything about the movie is beige.

 
"Fever Pitch" Wins Despite Its Directors: Also, "The Upside of Anger" PDF Print E-mail
Reviews
Written by Mike Schulz   
Tuesday, 12 April 2005 18:00

Drew Barrymore and Jimmy Fallon in Fever PitchFEVER PITCH

As long as there’s a Hollywood, there will be a surfeit of romantic comedies, but when was the last time you saw one that was as charming and magical as it pretended to be? Granted, Hitch made oodles of money, but the platonic love between Will Smith and Kevin James was more engaging than either of their characters’ eventual hook-ups, and The Wedding Date, in which Debra Messing and Dermot Mulroney made flirtation look like an act of desperation, was just slightly less romantic than any given episode of Will & Grace.

 
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