The puppeteer's working as a file clerk on the seventh-and-a-half floor of a Manhattan office building; this idea alone might serve as the comedic basis for an entire film, but Jonze and Kaufman are just getting started. Add a devious coworker (Catherine Keener), Cusack's dowdy wife (a barely recognizable Cameron Diaz), and a business scheme to capitalize on the thrill of being John Malkovich, and you've got a movie that just gets crazier as it plays by its own outrageous rules. Malkovich himself is the film's pièce de résistance, riffing on his own persona with obvious delight and--when he enters his own brain via the portal--appearing with multiple versions of himself in a tour-de-force use of digital trickery. Does it add up to much? Not really. But for 112 liberating minutes, Being John Malkovich is a wild place to visit. --Jeff ShannonWhile too many movies suffer the fate of creative b! ankruptcy, "Being John Malkovich" is a refreshing study in con! trast, s o bracingly original that you'll want to send director Spike Jonze and screenwriter Charlie Kaufman a thank-you note for restoring your faith in the enchantment of film. Even if it ultimately serves little purpose beyond the thrill of comedic invention, this demented romance is gloriously entertaining, spilling over with ideas that tickle the brain and even touch the heart. That's to be expected in a movie that dares to ponder the existential dilemma of a forlorn puppeteer (John Cusack) who discovers a metaphysical portal into the brain of actor John Malkovich.\n The puppeteer's working as a file clerk on the seventh-and-a-half floor of a Manhattan office building; this idea alone might serve as the comedic basis for an entire film, but Jonze and Kaufman are just getting started. Add a devious coworker (Catherine Keener), Cusack's dowdy wife (a barely recognizable Cameron Diaz), and a business scheme to capitalize on the thrill of being John Malkovich, and you'v! e got a movie that just gets crazier as it plays by its own outrageous rules. Malkovich himself is the film's pi?®ce de r?©sistance, riffing on his own persona with obvious delight and--when he enters his own brain via the portal--appearing with multiple versions of himself in a tour-de-force use of digital trickery. Does it add up to much? Not really. But for 112 liberating minutes, "Being John Malkovich" is a wild place to visit. "--Jeff Shannon"While too many movies suffer the fate of creative bankruptcy,Being John Malkovich is a refreshing study in contrast, so bracingly original that you'll want to send director Spike Jonze and screenwriter Charlie Kaufman a thank-you note for restoring your faith in the enchantment of film. Even if it ultimately serves little purpose beyond the thrill of comedic invention, this demented romance is gloriously entertaining, spilling over with ideas that tickle the brain and even touch the heart. That's to be expected in ! a movie that dares to ponder the existential dilemma of a forl! orn pupp eteer (John Cusack) who discovers a metaphysical portal into the brain of actor John Malkovich.
The puppeteer's working as a file clerk on the seventh-and-a-half floor of a Manhattan office building; this idea alone might serve as the comedic basis for an entire film, but Jonze and Kaufman are just getting started. Add a devious coworker (Catherine Keener), Cusack's dowdy wife (a barely recognizable Cameron Diaz), and a business scheme to capitalize on the thrill of being John Malkovich, and you've got a movie that just gets crazier as it plays by its own outrageous rules. Malkovich himself is the film's pièce de résistance, riffing on his own persona with obvious delight and--when he enters his own brain via the portal--appearing with multiple versions of himself in a tour-de-force use of digital trickery. Does it add up to much? Not really. But for 112 liberating minutes, Being John Malkovich is a wild place to visit. --Jeff Shannon
When America was attacked on 9/11, its citizens almost unanimously rallied behind its new, untested president as he went to war. What they didn't know at the time was that the Bush administration's highest priority was not to vanquish Al Qaeda but to consolidate its own power at any cost. It was a mission that could be accomplished only by a propaganda presidency in which reality was steadily replaced by a scenario of the White House's own invention-and such was that scenario's devious brilliance that it fashioned a second war against an enemy that did not attack America on 9/11, intimidated the Democrats into incoherence and impotence, and turned a presidential election into an irrelevant referendum o! n macho imagery and same-sex marriage.
As only he can, acclaimed New York Times columnist Frank Rich delivers a step-by-step chronicle of how skillfully the White House built its house of cards and how the institutions that should have exposed these fictions, the mainstream news media, were too often left powerless by the administration's relentless attack machine, their own post-9/11 timidity, and an unending parade of self-inflicted scandals (typified by those at The New York Times). Demonstrating the candor and conviction that have made him one of our most trusted and incisive public voices, Rich brilliantly and meticulously illuminates the White House's disturbing love affair with "truthiness," and the ways in which a bungled war, a seemingly obscure Washington leak, and a devastating hurricane at long last revealed the man-behind-the-curtain and the story that had so effectively been sold to the nation, as god-given patriotic fact.
In this suspenseful crime story, Tom McKenna is a family man who becomes an instant media celebrity when he thwarts a robbery at his own diner â€" a robbery attempted by wanted murderers. McKenna’s newfound fame draws the attention of a group of merciless mobsters who have been looking to settle a score with him for over 20 years. Now, as the killers descend upon his small town in Middle America, the Brooklyn native must face the actions of his youth and relive his past hi! story of violence as he attempts to salvage the life he has built and keep his family out of harm’s way.
An average family is thrust into the spotlight after the father (Viggo Mortensen) commits a seemingly self-defense murder at his diner.On the surface, David Cronenberg may seem an unlikely candidate to direct A History of Violence, but dig deeper and you'll see that he's the right man for the job. As an intellectual seeker of meaning and an avowed believer in Darwinian survival of the fittest, Cronenberg knows that the story of mild-mannered small-town diner proprietor Tom Stall (Viggo Mortensen) is in fact a multilayered examination of inbred human behavior, beginning when Tom's skillful killing of two would-be robbers draws unwanted attention to his idyllic family life in rural Indiana. He's got a loving wife (Maria Bello) and young daughter (Heidi Hayes) who are about to learn things about Tom they hadn't suspected, and a teenage son (Ashton Holmes) who ha! s inherited his father's most prominent survival trait, manife! sting it self in ways he never expected. By the time Tom has come into contact with a scarred villain (Ed Harris) and connections that lead him to a half-crazy kingpin (William Hurt, in a spectacular cameo), Cronenberg has plumbed the dark depths of human nature so skillfully that A History of Violence stands well above the graphic novel that inspired it (indeed, Cronenberg was unaware of the source material behind Josh Olson's chilling adaptation). With hard-hitting violence that's as sudden as it is graphically authentic, this is A History of Violence that's worthy of serious study and widespread acclaim. --Jeff Shannon
4:40 PM
Blog Fasion
