23 Mar 2004

Depp Makes "Secret Window" a Non-Guilty Pleasure: Also, "Spartan" and "21 Grams"

By Mike Schulz

Johnny Depp in Secret WindowSECRET WINDOW

Even though the movie isn't all that good, Secret Window is one of those thrillers that you want to watch again immediately after your first viewing. But unlike, say, The Sixth Sense or Fight Club, where you're curious to see exactly how The Twist was pulled off, your desire to return to this Stephen King adaptation is based solely on one thing: the performance of Johnny Depp.

16 Mar 2004

Dull Competency Sinks "Hidalgo": Also, "Girl with a Pearl Earring"

By Mike Schulz

Viggo Mortensen in HidalgoHIDALGO

As family-friendly adventures go, the Disney-produced western Hidalgo isn't all that bad, but it sure could have used a feistier directorial spirit, something like what Gore Verbinski brought to last summer's Pirates of the Caribbean.

16 Sep 2003

"Matchstick Men" Feels Like a Con: Also, "Once Upon a Time in Mexico," "Owning Mahowny," and "The Order"

By Mike Schulz

Nicolas Cage and Alison Lohman in Matchstick MenMATCHSTICK MEN

Ostensibly, Ridley Scott's dramatic comedy Matchstick Men deals with Roy (Nicolas Cage), a professional con artist, connecting with Angela (Alison Lohman), the 14-year-old daughter he never knew he had, and trying to better himself as a father figure.

26 Aug 2003

Costner the Actor Kills Costner the Director: "Open Range," "Freddy Vs. Jason," "Uptown Girls," and "Marci X"

By Mike Schulz

Kevin Costner and Robert Duvall in Open RangeOPEN RANGE

What will it take for Kevin Costner to give a performance again? His new movie, the western Open Range, which he also directed, has a lot going for it - beautiful camerawork, impressive editing, a strong, simple storyline, a marvelously cantankerous Robert Duvall - yet smack at the center is sweet, dear, painfully inadequate Kevin Costner, looking and sounding so uninvolved with his surroundings and his fellow actors that he weakens his entire film. (It took great restraint to laugh at him only once, at his hysterically unmotivated reading of the cowpoke classic "Let's rustle up some grub.") Some will argue that Costner is actually deeply in character, playing an uncivilized man for whom conversation and companionship offer little comfort, but look at him onscreen: His Zen blankness is indistinguishable from a coma, and his "concentration" resembles nothing so much as a somnambulist struggling to stay awake. As usual, Costner is fine with rare moments of fringe comedy - reminding us why we once liked him in movies like Bull Durham and Field of Dreams and Tin Cup - but he's positively deadly in Open Range, and not because of his character's prowess with a gun.

15 Jul 2003

"Pirates" Continues Disney's 2003 Winning Streak: "Pirates of the Caribbean: The Curse of the Black Pearl" and "The League of Extraordinary Gentlemen"

By Mike Schulz

Johnny Depp and Orlando Bloom in Pirates of the Caribbean: The Curse of the Black PearlPIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL

Throw a rock at the annual slate of summer movies and you'll hit one with state-of-the-art CGI effects, but finding one with imaginative effects can be an exercise in futility.

03 Jun 2003

"Finding Nemo" Close to Miraculous: Also, "The Italian Job" and "Lost in La Mancha"

By Mike Schulz

Finding NemoFINDING NEMO

Fish, by nature, aren't the most expressive of species, but try telling that to the loopy geniuses at Pixar. In the studio's latest computer-animated adventure, Finding Nemo, director Andrew Stanton, his wizardly animators, and the vocal talent contribute such breathtaking life and range of emotion to sea dwellers that you leave the movie dizzy with happiness.

26 Feb 2002

Queen of the Guilty Pleasures: "Queen of the Damned," "Hart's War," and "Dragonfly"

By Mike Schulz

Aaliyah in Queen of the DamnedQUEEN OF THE DAMNED

Granted, the new year is only eight weeks old, but I already have a nominee for Best Guilty Pleasure of 2002: the Anne Rice adaptation Queen of the Damned. I'm not suggesting the movie is great, or even good, but this tacky amalgam of vampire clichés, hard rock, and MTV posturing is a surprisingly deft and confident work, and about a hundred times more fun than the pompous, enervated Interview with the Vampire.

23 Oct 2001

"From Hell" Is Heaven-Sent: Also, "Riding in Cars with Boys" and "The Last Castle"

By Mike Schulz

Johnny Depp in From HellFROM HELL

You can be forgiven for assuming that From Hell, Allen and Albert Hughes' re-telling of the Jack the Ripper saga (based on the immensely popular graphic novel), is a follow-up to Tim Burton's Sleepy Hollow, what with its previews focusing on a shadowy murderer, lots of fog and mist, Johnny Depp's investigator speaking in a British accent (Cockney this time), and Heather Graham in the Christina Ricci role of the Corseted Love Interest.

18 Apr 2001

Zellweger Shines (Again) in "Diary": "Bridget Jones's Diary," "Blow," and "Josie & the Pussycats"

By Mike Schulz

Renee Zellweger in Bridges Jones's DiaryBRIDGET JONES'S DIARY

A terrific leading character can atone for a lot of wrongs in a film, and there might be no better proof of that thesis than Bridget Jones's Diary, Sharon Maguire's adaptation of Helen Fielding's incredibly popular novel. Our heroine, a 32-year-old British woman who works a dead-end publishing job, is a completely realistic type we almost never see in movies: a chain-smoking, wine-slurping, slightly overweight, unsatisfied-in-relationships flirt who wants desperately to better herself but doesn't have the motivation or discipline to do so. Flawed as she is, she's intensely endearing, and as perfectly played by Renée Zellweger, she's a magically comic creation, even more wonderful than Zellweger's previous incarnations of Dorothy Boyd and Nurse Betty. That the moviemakers spend the film's running length putting her in one humiliating situation after another, and that she's trapped in a predictable love triangle between a cad and a sweetie, aren't to be held against her; Bridget Jones, and Zellweger herself, triumph over their circumstances, creating a totally enjoyable cinematic work, flaws and all.

23 Jan 2001

It Ain't Good for You, but It Ain't Bad: "Snatch," "Chocolat," and "Save the Last Dance"

By Mike Schulz

Jason Statham, Brad Pitt, and Alan Ford in SnatchSNATCH

First, the bad news: Guy Ritchie's latest crime thriller, Snatch, is nearly a carbon copy of his sizzling 1998 debut film, Lock, Stock, and Two Smoking Barrels. The good news: Who cares? Those who like their thrills fast, bloody, twisty, and awfully funny will be in B-movie paradise here; we're only three weeks into January, and we already have a movie that's more enjoyable than 90 percent of what was released last year.

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