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items tagged with Diane Keaton

Anima Shun: "Beowulf," "Mr. Magorium's Wonder Emporium," and "Love in the Time of Cholera"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2007-11-21 08:57:24

the CGI likeness of Ray Winstone in BeowulfBEOWULF

In 1977's Annie Hall, there's a scene between Woody Allen's Alvy Singer and Diane Keaton's Annie in which the title character mulls over her adult-education options:

 

ANNIE: Does this sound like a good course - "Modern American Poetry"? Or, let's see now ... maybe I should take "Introduction to the Novel."

ALVY: Just don't take any course where they make you read Beowulf.

 

Thirty years later, I'm not sure I'd want to take a course where they make you see it, either.


Read More About Anima Shun: "Beowulf," "Mr. Magorium's Wonder Emporium," And "Love In The Time Of Cholera"...


Smother’s Day: "Because I Said So," "Catch & Release," and "Epic Movie"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2007-02-07 08:27:58

Diane Keaton and Mandy Moore in Because I Said SoBECAUSE I SAID SO

I adore Diane Keaton, but after sitting through her torturously affected performance in Michael Lehmann's Because I Said So, I'd be hard-pressed to explain why. Playing the meddling, overbearing mother of Mandy Moore's chatterbox caterer - a single woman for whom Mom is desperately acting as matchmaker - Keaton has the unenviable task of playing an abjectly hateful character, a woman so hell-bent on micro-managing her daughter's life that she makes everyone around her miserable.


Read More About Smother’S Day: "Because I Said So," "Catch & Release," And "Epic Movie"...


Spielberg Takes a Riveting Trip to "Munich": Also, "The Family Stone"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2005-12-28 00:00:00

Eric Bana and Geoffrey Rush in MunichMUNICH

He may be revered – and often reviled – for his sense of childlike wonder, but no Hollywood director shoots scenes of violence with the no-frills grimness of Steven Spielberg. In the helmer’s taut, ambitious Munich – which focuses on Israeli retribution for the murders of nine of their athletes at the 1972 Olympics – Spielberg, as he did in Schindler’s List and Saving Private Ryan, doesn’t distance himself from the carnage on the screen, and doesn’t let us distance ourselves, either. There’s nothing self-consciously “artistic” about the numerous killings we’re shown here; bullets tear through flesh with terrifying force, bombs rip limbs apart, and most of these atrocities are portrayed with an almost shocking matter-of-factness – we recoil from the violence because Spielberg’s presentation of it is so intentionally artless. (The murders in Munich come off as almost painfully realistic.) Yet although Munich is a brutal work, it isn’t brutalizing; Spielberg is too much of a natural showman – and natural entertainer – for that. The film is a riveting and intelligent political thriller, and although the director can’t fully rein in his expectedly sentimental impulses, Munich is probably Spielberg’s strongest directorial accomplishment in more than a decade. It’s a gripping and, for Spielberg especially, refreshingly tough-minded piece of work.


Read More About Spielberg Takes A Riveting Trip To "Munich": Also, "The Family Stone"...


A Hundred-Plus Reasons to Go to the Movies
Written By: Mike Schulz
Section: Movies

Category: Feature Stories

2004-10-27 00:00:00
My first article for the River Cities’ Reader appeared in Issue 18, way back in March of 1995. (You know how long ago that was? Tom Hanks had only one Oscar.) Serving as the Reader’s film critic was, and still is, a terrific gig – for an avowed movie fanatic who loves to write, the chance to expound on the state of cinema has always been about more than giving a particular work a “yay” or “nay” vote; it’s given me, in a minor way, the opportunity to analyze an entire culture, to try to understand what’s in the heads of those who make films, and those who distribute films, and the millions of us who view them.
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The 2004 Alternate Oscars
Written By: Mike Schulz
Section: Movies

Category: Feature Stories

2004-02-25 00:00:00
For the past couple of years, as a prelude to the Academy Awards presentation (scheduled to air on ABC at 7 p.m. on Sunday, February 29), I’ve devoted an article to re-constructing the top six Oscar categories, replacing what I felt were unworthy contenders with my own personal preferences; this enabled me to extoll the virtues of the deserving while also allowing me to whine, “Why the hell didn’t Naomi Watts get noticed for Mulholland Dr.?” And before this year’s contenders were announced in late January, I was already writing my annual article in my head: “Where’s Johnny Depp’s nomination? And what about Keisha Castle-Hughes? And how about Marcia Gay Harden and Shohreh Aghdashloo and Fernando Meirelles?” And then what did the Academy go and do? They nominated them all.
Read More About The 2004 Alternate Oscars...





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