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items tagged with Meryl Streep

Yo-Ho-Hum: "Pirates of the Caribbean: Dead Man's Chest," "The Devil Wears Prada," and "An Inconvenient Truth"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2006-07-12 04:24:02
Johnny Depp in Pirates of the Caribbean: Dead Man's Chest

PIRATES OF THE CARIBBEAN: DEAD MAN'S CHEST

I know a bunch of you bought tickets for it this past weekend, so allow me to ask: Did anyone else find Pirates of the Caribbean: Dead Man's Chest a little, you know, incoherent? A degree of senselessness, of course, has to come with the territory, but while I'm positive that I didn't nod off during Gore Verbinski's opus - the booming soundtrack and relentless, CGI-enhanced action won't let you - I'm not sure I ever quite understood it. There seemed to be a whole lot of plot in Dead Man's Chest but none of it meant anything or was revealed with an urgency that might make it mean anything; at some point, I simply gave up trying to figure the damned thing out, and just waited for Davy Jones and the rest of his barnacled baddies to show up again.


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"Companion" Piece: "A Prairie Home Companion," "Cars," and "The Omen"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2006-06-14 05:11:08

Garrison Keillor, Meryl Streep, and Lindsay Lohan in A Prairie Home CompanionA PRAIRIE HOME COMPANION

One of the many glories of Robert Altman is that he never pretends to know everything there is to know about the characters in his movies, and doesn't expect his audiences to, either. In an Altman film, you may think you have someone all figured out, until a later scene proves that you haven't begun to understand what makes them tick; Altman is fascinated with the dichotomy between characters' public and private faces. (It makes perfect sense that he eventually filmed a murder mystery.) It sometimes seems that there's not much going on in an Altman movie, and audiences could easily assume the same about the director's latest, A Prairie Home Companion. But if you're as enthralled with character as the director is, and with the drama of actors gradually revealing character, his ambling, "plotless" films can be sheer bliss.


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"The Break-Up" Is Hard to View: Also, "The Living Sea"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2006-06-07 05:39:30

Vince Vaughn and Jennifer Aniston in The Break-UpTHE BREAK-UP

There are a whole bunch of different movies circulating within the Vince Vaughn/Jennifer Aniston comedy The Break-Up, and every single one of them is more enjoyable than the one they're stuck in. Director Peyton Reed's film concerns the battle of wills that commences once Vaughn's Gary and Aniston's Brooke decide to split, but here are five of The Break-Up's subplots that, I'm guessing, would have made for far more entertaining feature-length viewing


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“I’d Like to Thank … ”: 2006 Oscar Aftermath
Written By: Mike Schulz
Section: Movies

Category: Feature Stories

2006-03-08 00:00:00
In the minutes following the announcement of this year’s Academy Awards nominations, media outlets were abuzz about the downbeat nature of the major contenders, and it was widely predicted that this year’s Oscar telecast – which aired on Sunday, March 5 – would be the lowest-rated one in ages.
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"Saw II" Effective, But Not Much Fun: Also, "Doom," "Stay," and "Prime"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2005-11-02 00:00:00

Saw IISAW II

Since we’re no longer forced to endure Cary Elwes shrieking his hammy little head off for 90 minutes, Saw II was inevitably going to be a less annoying experience than 2004’s Saw, but the movie is pretty effective in its own right. Not entertaining, mind you, but effective. Last fall’s surprise horror hit saw Elwes and another mad overactor at the mercy of the serial killer Jigsaw (Tobin Bell) – who devises for his prey wildly elaborate devices of torture that defy both description and belief – and in one of Saw II’s few impressive twists, he’s apprehended at the end of the movie’s first reel. What follows resembles what might result if you watched The Silence of the Lambs and Seven in picture-in-picture format. As Jigsaw – in sinister, I-know-something-that-you-don’t Hannibal Lecter mode – is interrogated, and his master plan dissected, by Donnie Wahlberg’s quick-to-boil cop, a whole new slew of potential victims, including Wahlberg’s teenage son, try to survive a vicious spook house by evading Jigsaw’s contraptions and deconstructing the maddeningly obtuse sets of clues the killer has left them. (Like its precursor, Saw II makes explicit what Seven left to your imagination.)


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