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items tagged with Nicole Kidman

"The Interpreter" a Thriller in Intent Only: Also, "Born Into Brothels," "The Amityville Horror," and "Kung Fu Hustle"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2005-04-27 00:00:00

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.)


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2005's Alternative Oscars: The Shoulda-Been Contenders
Written By: Mike Schulz
Section: Movies

Category: Feature Stories

2005-02-16 00:00:00
After the announcement of last year’s Oscar nominations, in which the Academy made almost shockingly inspired choices across the board, this year’s slate of nominees was bound to be a more predictable lot; barring a few minor surprises – the director and screenplay nods for Mike Leigh’s Vera Drake (still unseen by me) chief among them – voters opted for traditional, safe choices in 2004, especially among the squarer-than-usual Best Picture contenders.
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This Fall, It’s All Good!: "Birth," "Ray," and "The Incredibles"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2004-11-10 00:00:00

Danny Huston and Nicole Kidman in BirthBIRTH

It’s pretty easy to see why audiences hate Jonathan Glazer’s Birth, which features Nicole Kidman as Anna, a grieving widow who believes that the soul of her late husband, Sean, is alive in the body of a 10-year-old boy with the same name.


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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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Script, Performers Elevate "Stepford" Remake to Guilty Pleasure: "The Stepford Wives," "The Chronicles of Riddick," and "Garfield: The Movie"
Written By: Mike Schulz
Section: Movies

Category: Reviews

2004-06-23 00:00:00

Matthew Broderick and Nicole Kidman in The Stepford WivesTHE STEPFORD WIVES

As crummy movies go, Frank Oz’s remake of The Stepford Wives is pretty darned terrific. The film has been plagued by rumors of trouble on the set and post-production nightmares and general confusion throughout, and you can practically see these turmoils on the screen; the movie is bizarrely assembled and terribly edited – characters’ motivations change from scene to scene with little rhyme or reason – and it all falls apart before your eyes. Oz doesn’t seem to have a clue how to treat the material, but one person does: screenwriter Paul Rudnick. He knows exactly what he’s up to – a bitchy, campy tale involving a group of nerdy men who enact revenge on the successful women they feel inferior to – and individual scenes in this Stepford Wives are so hilarious and dead-on smart that you wind up enjoying the movie despite being aware of how awful much of it is. Like last summer’s Rudnick-written Marci X, it’s a perfect example of a comedy in which individual set pieces far exceed the whole, and it can be blissfully enjoyed on its own underwhelming terms.


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